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Journal of Science and Technology © KNUST December 2011
GLOBALIZATION OF THE FASHION INDUSTRY AND ITS
EFFECTS ON GHANAIAN INDEPENDENT FASHION
DESIGNERS
G. D. Sarpong, E. K. Howard, and K. Osei-Ntiri
Department of Industrial Art, Faculty of Art, College of Art and Social Sciences
Kwame Nkrumah University of Science and Technology
Kumasi, Ghana.
ABSTRACT:
This paper investigates the globalization of the fashion industry and its effects on Ghanaian in-
dependent fashion designers and finds feasible strategies that can be employed for the improve-
ment of the fashion business in Ghana. The research is based on qualitative research approach
which employs observation and interview for data collection. The population studied comprises
fashion producers who have their workshops within twelve suburbs in Kumasi. The purposive
sampling technique was utilized to select six respondents from each of the suburbs. Data col-
lected was tabulated, interpreted and discussed. The study reveals among other things, that the
Ghanaian fashion producers face serious challenges with the major one being importation of
“seconds” and used clothes from Europe, America and cheap clothing and textiles from Asian
countries. Lack of capital, knowledge and key skills, low and irregular income are among other
challenges facing respondents. Strategies suggested for the improvement of the Ghanaian fash-
ion business include; formation of strong alliance by all fashion producers in Ghana to influ-
ence the government to formulate policies that will address importation of fashion goods that
compete unfairly with the Ghanaian fashion products, provide financial assistance in the form
of loans to help in acquisition of current and more efficient machinery and raw material to im-
prove and expand their businesses, and organise regular proficiency training for skills and com-
petency upgrading to equip them to produce to meet international standards.
Keywords: Globalization; fashion; clothing; independent fashion designers; challenges
INTRODUCTION
The history of Ghanaian fashion is traced back
to the pre-colonial era when indigenous Ghana-
ians used barks of trees and hides of animals to
clothe themselves (Adu-Akwaboa, 1994). The
development of fashion in Ghana is believed to
have started during the colonial period with the
introduction of wax prints and “dress” by the
colonial masters (Turnings, 2002). Today, Gha-
naian Fashion has undergone a complete over-
haul because of globalization.
Fashion in its broadest sense is a particular
style that is popular for a period of time. It can
be clothing, furniture, housing, automobile,
food, toys, and many others, but most com-
monly, it refers to a style of clothes, cosmetic,
dress accessories, that is trendy, or most admi-
© 2011 Kwame Nkrumah University of Science and Technology (KNUST)
Journal of Science and Technology, Vol. 31, No. 3 (2011), pp 97 - 106 97
RESEARCH PAPER
http://dx.doi.org/10.4314/just.v31i3.11
Journal of Science and Technology © KNUST December 2011
rable and worn by many people at a particular
time (Rouse, 1993; Drew 1992). Fashion as
defined in a more technical manner comprises
all sorts of clothing items, textiles fabrics and
their study (Pearsall, 2002). It is clear from the
above definitions that, fashion does not only
refer to a style in vogue, but it is the term use
for clothing and accessories for human body. It
also includes textiles in the form of things made
of fabrics for home, office and industrial fur-
nishings as well as a programme of study. The
Fashion Industry takes care of the production
and sales of fashion products also. Fashion in-
dustry plays very prominent role in the socio-
economic development of every nation by help-
ing generate income for living and it is a means
through which people acquire their clothing
needs.
Even though fashion change is intrinsic, to-
day’s fashion is being shaped by globalization.
Jarnow and Dickerson (1997) assert that, glob-
alization process is having tremendous impact
on the fashion industry; the effect is that, where
and how fashion is produced and marketed has
changed. Jones (1998) describes globalization
as a growing integration of the world’s econ-
omy. To Walters (2002), it is a social process in
which constraints of geography on economic,
political, social and cultural arrangements re-
cede and people become increasingly aware
that they are receding. Hines and Bruce (2001)
also assert that, globalization is the increasing
internationalization of the production, distribu-
tion and marketing of goods and services, and
the expansion of politics and cultures across the
planet. It is apparent from these definitions that,
the common phenomenon of the term globalisa-
tion is economic; thus the unit of economic
activities and policies vis-a-vis political, social
and cultural activities are expanding from na-
tion to nation. Evidently, globalization is asso-
ciated with technological advancement which
facilitates the movement of people and goods
worldwide. It can therefore be stated that glob-
alization is the key means through which manu-
facturers produce and distribute their economic
wealth in exchange for economic gains.
Dickerson (1999) comment that the fashion
industry is not exempted from the globalization
process, since the business of fashion is now a
global economy. The striking effect is that,
fashion designers, manufacturers, merchandis-
ers and marketers are expanding their umbrellas
throughout the whole world. Fashion manufac-
turing being labour intensive, has migrated
from high wage developed world to developing
countries; India, China, Indonesia, Bangladesh,
and other Asian countries are generating valu-
able foreign exchange through exportation of
clothing and textiles products to U.S.A., Europe
and developing countries like Ghana and others
(Jones, 1998; Bheda et al., 2003; Bird et al.,
1996).
While developing countries like China, India
and Hong Kong are earning valuable foreign
exchange and building their wealth from expor-
tation of Fashion products, Ghana’s income
generated from fashion production is very low.
Attempts have been made by Ghana’s consecu-
tive governments of the fourth republic to de-
velop and improve the industrial sector of the
country. Fashion education has also been im-
proved; it is now being studied at the tertiary
level of Ghana’s educational institutions, where
graduates are expected to acquire quality de-
mand-driven employable and marketable skills
that will make them take their roles in the in-
dustrial sector, work and be economically pro-
ductive (Amankwah, 2007). Yet the fashion
businesses in Ghana are still dominated by
ubiquitous roadside dressmakers whose market
value is very low. Their main production is
based on “custom-made” items. The main Gha-
naian fashion export destinations comprising of
EU countries, U.S.A. and some parts of the
ECOWAS have declined due to competition
with other African countries and poor finishing
of products which make products not able to
conform to standards required (Quartey, 2006).
There is also an assumption that, producers face
big competition from imports of surplus cloth-
ing rejected by the thrift shops of Europe and
America, and cheaper clothes and textiles from
Sarpong et al.
98
Journal of Science and Technology © KNUST December 2011
Globalization of the fashion industry... 99
Asia especially China and Indonesia. All these
have resulted from global economic expansion
of the textiles and clothing industry. The aim of
this study, therefore, is to investigate the prob-
lems that the independent fashion designers
face amidst globalization of the fashion indus-
try, and suggest feasible strategies for the im-
provement of their businesses.
METHODOLOGY
Empirical evidence shows that the validity and
reliability of easy information for a study de-
pends to a great extent on the strategies de-
signed and used for the collection of data
(Cooper, 1985). For this reason, qualitative
research method which allowed close interac-
tions with the respondents and their settings
was employed for the study. The strategy in-
cluded both formal and informal interviews and
observations. This assisted the researchers to
obtain first-hand information of the opinions,
attitudes and behaviours of the designers
(Osuala, 2001).
Population/Sample Technique
The accessible population for the study com-
prises independent fashion designers who have
their settings at Adum, Amakom, Asafo, Asa-
wase, Asokwa, Bantema, Krofrom, Oforikrom,
Old Tafo, Santase, Kwadaso and Suame. These
were chosen as fair representation of the popu-
lation for the study in the Kumasi metropolis,
as most of the independent fashion designers
are clustered in these areas. Purposive sample
technique was employed to sample out seventy
two (72) respondents, that is, six independent
fashion designers were chosen from each of the
suburbs listed above. The use of purposive
sampling technique helped in the selection of
respondents who provided relevant and factual
information for discussion (Leedy and Ormrod,
2005). The respondents selected mainly employ
apprentices in their production processes. Few
of them employ “work and pay” personnel who
are Intermediate fashion graduates from the
country’s Polytechnics and Technical/
Vocational Institutions.
Instruments for Data Collection
The instruments used for data collection were
participant observation and formal interview.
The interview guide and observational checklist
were developed based upon the following ob-
jectives:
• To find out the qualification of the respon-
dents
• To identify the type of products they pro-
duce
• To examine the challenges facing the re-
spondents
• To suggest strategies that are feasible for
the improvement of the independent fash-
ion designers
During the administration of the questionnaire,
respondents were assured of anonymity and
confidentiality which made them responded
positively.
RESULTS AND DISCUSSION
The results of the study have been tabulated
and discussed descriptively.
Qualification Freq. Percentage (%) Cum. Freq. (%)
HND Fashion and Textiles Studies 5 7 7
Advanced Fashion 16 22 29
Intermediate Fashion 8 11 40
Apprenticeship (certificate in Dressmaking) 43 60 100
Total 72 100
Source: Field Study-2009
Table 1: The qualification of respondents
Journal of Science and Technology © KNUST December 2011
As indicated in Table 1, five (5) out of the sev-
enty two (72) respondents representing 7% hold
the highest qualification in Fashion Design and
Textiles Studies, sixteen (16) of them repre-
senting 22% have Advanced Fashion Certifi-
cates, eight (8) representing 11% posses Inter-
mediate Certificate in Fashion, and forty three
(43) representing 60% went through appren-
ticeship to acquire training certificate in Dress-
making.
It is noticed that, those with the highest certifi-
cates constitute the least number in the fashion
business with the majority of the respondents
having the lowest qualification. It is evident
that, the graduates who have been trained to
acquire in-depth skills from the country’s terti-
ary institutions do not find setting up their own
business with the knowledge and skills ac-
quired attractive. It must be argued that, the
quality of fashion items that are produced will
not be of good quality as majority of fashion
designers within the study area use their ap-
prentices (those that are still receiving training)
for the production processes. This confirms the
assertion made by Zwane et al. (2002) that the
use of unskilled labour compromises the quality
standards in production of garments. The rea-
son is that these apprentices lack the requisite
knowledge and key skills to come out with
good garment construction details and specifi-
cations like even seam widths, neat edge fin-
ishes and neatening techniques, effective use of
elements and principles of design and others
which the tertiary fashion institutions offer to
improve the aesthetic quality and durability of
fashion products, hence the rejection of most of
the exports of the locally made fashion goods
by EU and USA.
From Table 2, it is apparent that, Forty (40) out
of the seventy two (72) respondents represent-
ing 55.6% acquire their capital and other finan-
cial resources from their own accumulated sav-
ings (Susu). Ten (10) being 13.8% receive fi-
nancial support from their own accumulated
savings (Susu) and support from their families.
Another ten (10) representing 13.8% receive
financial support from their own accumulated
savings (Susu) as well as loans from financial
institutions, while the remaining twelve (12)
representing 16.7% solicit financial assistance
from all the three sources. This clearly shows
that the fashion designers in the area depend
mainly on their own savings to remain in busi-
ness.
From Table 2, it is apparent that, Forty (40) out
of the seventy two (72) respondents represent-
ing 55.6% acquire their capital and other finan-
cial resources from their own accumulated sav-
ings.
Source: Field Study-2009
Table 2: Sources of financing
Sources of Financing Freq. Percentage (%) Cum. Freq. (%)
Own accumulated savings (Susu) only
40 55.5 55.5
Own accumulated savings (Susu) and
Families’ financial support
10 13.9 69.4
Own accumulated savings (Susu) and
Loans from financial institutions
10 13.9 83.3
Own accumulated savings (Susu),
Families’ financial
support and Loans
from financial institutions
12 16.7 100.0
Total 72 100
Sarpong et al.
100
Journal of Science and Technology © KNUST December 2011
101
Equipment
Freq. Percentage (%) Cum. Freq. (%)
Industrial sewing machine only
2 3 3
Industrial and domestic electric
machines
4 5 8
Domestic electric machines and
hand sewing machines
20 28 36
Domestic hand sewing machines
only
46 64 100
Total 72 100
Source: Field Study-2009
Table 3: Types of equipment used
Challenges
Freq. Percentage (%)
Lack of Capital and Credit Facilities to acquire current
and
more efficient equipment, tools and materials
72 100
Low and Irregular Income
41 57
High income tax, high utility bills and rent.
60 69
Lack of market
50 75
Competition of cheap imported clothes
61 85
Lack of knowledge and skills in the use of clothing
construction techniques for sewing, and skill to create
and make personal innovations
64 86
Source: Field Study-2009
Table 5: Multiple responses on challenges facing respondents
Globalization of the fashion industry...
Product
Freq. Percentage (%) Cum. Freq. (%)
Textile fabrics- batik, tie and dye,
screen printing
2 3 3
Textile fabrics- batik, tie and dye,
prints and garment
10 14 17
Garments only (mainly custom-
made ones)
60 83 100
Total 72 100
Source: Field Study-2009
Table 4: Type of textiles and fashion produced by the independent fashion designers
Journal of Science and Technology © KNUST December 2011
Ten (10) being 13.8% receive financial support
from their own accumulated savings (Susu) and
support from their families. Another ten (10)
representing 13.8% receive financial support
from their own accumulated savings (Susu) as
well as loans from financial institutions, while
the remaining twelve (12) representing 16.7%
solicit financial assistance from all the three
sources. This clearly shows that the fashion
designers in the area depend mainly on their
own savings to remain in business.
The results presented in Table 3 indicate that,
two (2) of the respondents representing 3% use
industrial sewing machines only for production.
Four (4) of the respondents, that is 5% use in-
dustrial as well as domestic electric machines
for sewing, twenty (20) of them representing
28% use domestic electric and hand sewing
machines whiles forty-six (46) representing
64% making use of hand sewing machines only
for production. This reveals that there is very
low usage of industrial sewing machines by the
independent fashion designers in the study area.
As shown in Table 4, two (2) respondents rep-
resenting 3% are into the production of only
textile fabrics comprising batik, tie and dye,
and screen printed fabrics. Ten (10) participants
representing 14% produce batik, tie and dye,
screen printed fabrics, and sew garments for
customers. Sixty (60) respondents, that is, 83%
sew garments which are mainly custom-made.
In addition, the study reveals that, respondents
use assorted textile fabrics. Cotton fabrics of
various types including woodin, wax prints,
java, fancy, tie-dye, batik and locally screen
printed fabrics are dominant. Other fabrics like
satin and nylon are also used, but mainly for
dresses which are ordered by their local cus-
tomers during occasions like Christmas, Easter
and other festivities.
Results presented in Table 5 show that each of
the respondents faces two or more challenges.
Apparently, the most serious problem facing
the respondents is lack of capital to improve
their businesses. All the seventy two (72) re-
spondents lack capital and credit facilities to
acquire modern and more efficient equipment,
tools and materials to work effectively. Forty
one respondents (41) representing 57% have
low and irregular income. The income rate de-
pends on the number of fabrics that the custom-
ers bring to sew and this is not predictable as
customers usually bring more fabrics to be
sewn for them during occasions and festival
periods. Fifty respondents (50), that is, 69%
expressed concern about high income tax im-
posed on them, coupled with high utility bills
and rent. Fifty four (54) being 75% of the re-
spondents complain that they do not have mar-
ket for their products. It is noted that, these
respondents apart from serving the clothing
needs of their customers sew some few clothes
for sale. However, these clothes usually re-
ceive low patronage in the sense that customers
most often pay less than the production cost.
Table 6 also indicated that sixty one (61) re-
spondents representing 85% are faced with
competition of imported clothes sold in shops
near their premises and second hand clothes
that porters carry from door to door which are
cheaper compared to the custom made clothes
made by the independent fashion designers.
This gives a true indication of the assumption
that imports of used and cheaper clothes and
textiles onto the Ghanaian markets pose a big
threat to the success of the Ghanaian fashion
businesses. The findings of the study from Ta-
ble 5 also indicate that sixty four (64) being
86% of the respondents lack knowledge and
skills in the use of clothing construction tech-
niques for sewing, and they find it difficult to
create and make their own styles and for that
matter depend solely on fashion catalogues and
already made designs from fashion magazines
and calendars to cut out their patterns. This
hinders creativity and innovation in the local
fashion business which makes them less com-
petitive to the imported clothes.
Seventy one (71) respondents which represent
99%, as indicated in Table 6, suggested the
Sarpong et al.
102
Journal of Science and Technology © KNUST December 2011
need for financial support and credit facilities
to enable them acquire the current and efficient
sewing tools, equipment and materials to ex-
pand their businesses. Sixty nine (69) that is
95% were of the view that, organisation of peri-
odic skills and competency based workshops
would be of great assistance towards the im-
provement and upgrading of their work. In
addition, sixty five (65) of the respondents rep-
resenting 90% agitated for the ban of the im-
portation of fashion goods into the country,
whereas forty three (43) being 59%, proposed
for the organisation of regular fashion fairs,
shows and exhibitions at cheaper cost to enable
them participate fully to showcase, sell and
advertise their products.
The findings presented in the tables evidently
show that, although the respondents face seri-
ous financial constraints, they are also much
vulnerable in terms of skills and competencies
in textiles and garment production. Inadequate
capital for the acquisition of efficient tools,
equipment and materials to support respondents
go through training to upgrade their skills and
competencies are the key problems facing
them. Majority of the respondents operate their
businesses with their own savings through
‘Susu’ with very few of them receiving some
financial support from their families. Few of
the interviewees have access to loans from fi-
nancial institutions. Evidently, domestic sewing
machines are the common equipment being
used by the respondents. This is not a good
scenario in the face of the local fashion industry
which aims at producing to meet international
standards in terms of design and construction of
high quality and well finished fashion products
in order to compete fairly with the offshore
counterparts.
It can be deduced therefore that, financial chal-
lenges and lack of relevant knowledge, key
skills and competencies for the production of
variant and internationally marketable fashion
products are prevalent in the Ghanaian fashion
industry. The researchers are sure of comment-
ing on this since similar findings about this
have resulted from other studies (Adamptey
2007; Sarpong, 2005). While some developing
nations are enjoying positively from the inter-
connected global economy of the textiles and
apparel businesses, the case of Ghana is differ-
ent. Studies have shown that, USA and some
developed European countries have most of
their fashion firms in Asia where their gar-
ments are manufactured and exported within
the shortest possible time, using CAD and
CAM technology as well as electrically trans-
formed gadgets and facilities. This has made
Asian countries, especially China, India and
Bangladesh; generate valuable foreign ex-
change through fashion business (Jones, 1998;
Dickerson 1999). A clear evidence of this is
the bombardment of the Ghanaian fashion mar-
ket with cheap and imitated fashion goods from
Asia (Sarpong 2005; Quartey, 2010). This in-
terconnected global economy has facilitated the
103
Table 6: Multiple responses on suggestions for improvement of their businesses
Source: Field Study-2009
Suggestions
Freq. Percentage (%)
Financial Support in the form of loans and credit facilities
71 99
Formal training for improving and upgrading skills and
competency based workshops
69 95
Barn of importation of fashion goods into the country
65 90
Regular organization of Fashion Trade Fairs, shows and
Exhibition
at cheaper cost to enable participation of
Dressmakers
43 59
Globalization of the fashion industry...
Journal of Science and Technology © KNUST December 2011
importation of “seconds” and used clothing
from the Western world. All these have become
global challenges to the independent fashion
producers in Ghana.
As indicated in the introductory section of this
paper, Ghana governments of the fourth repub-
lic have made several attempts to develop and
improve the Garment and Textiles industry, but
not all attempts have yielded positive results.
The Ghana government in collaboration with
the United Nations Industrial Development
Organisation (UNIDO) in 2003 established
garment and textiles manufacturing training
programme at Accra Technical Training Centre
for hands-on-training and skill upgrading in
garment manufacturing for individuals in the
fashion industry (Sarpong, 2005). For instance,
former President Kufuor, under the President
Special Initiative (PSI) on Garment and Tex-
tiles production began negotiations with major
textiles and garment manufacturing countries to
invest in the country in order to get as many
individuals to be employed and learn on the job
experience (Turlings, 2002). Despite these and
other efforts by Ghana government toward de-
velopment and improvement of the local fash-
ion business, the industry still struggles to sur-
vive due to a number of challenges it is con-
fronted with as revealed in this study. A critical
look of the suggestions made by respondents in
the study is therefore crucial to help revamp
their fashion businesses.
One of the most important aspects that form the
backbone of every industry is capital as it is the
means through which all the resources to gener-
ate wealth are acquired. The study therefore
stresses the need for the government and other
stake holders to realize the importance of mak-
ing loans and credit facilities available to the
independent fashion producers who operate in
the small-scale sector, to enable them acquire
current and efficient tools, equipment and other
gadgets to help improve their skills and profi-
ciency, the quality of their products, and ex-
pand their businesses. Furthermore, it should
be noted that, popular Fashion Designers like
Vivienne Westwood, Giorgio Armani, Paul
Smith, Dolce and Gabbana, Christine Dior,
Chloe, and others evolve new patterns and clas-
sic fashions through training and practice
(Rouse, 1999). It is therefore recommended
that, Ghanaian fashion designers should take
vocational training and practice as key elements
to perfect performance and productivity. Those
who are in the business should find it necessary
to acquire training that will assist them to im-
prove their skills. This can be done by organiz-
ing themselves into groups and inviting experts
from the tertiary institutions and experience
fashion designers to assist them upgrade their
skills and competencies in product quality de-
velopment and innovations that will make them
experts in their field in order to gain interna-
tional market recognition.
With regard to the competition posed by the
importation of new and used clothing and tex-
tiles, a collective approach is required to ad-
dress the issue. In support to the opinions ex-
pressed by Boakye (2010) and Adamptey
(2009), the study calls for all fashion producers
especially small-scale manufacturers in Ghana
to form strong alliance in order to stand and
gather effective force to put their grievances
forward to parliament and other stake-holders
who formulate and implement policies to ad-
dress importation of fashion goods that com-
pete unfairly with the Ghanaian products. For
example, only textile fabrics that are not easily
produced and are needed in the country should
be imported to save the local textiles and cloth-
ing industry from collapsing. This means that,
some restriction on importation of textile prod-
ucts should be enforced.
To manage the competition, the research team
contend that superior marketing strategies
should be adopted. These should include a
complete market research to be made by the
educated producers to acquire information
about sizes and structures of the fashion mar-
ket, current trends, consumers’ preferences,
competitors, advertising effectiveness, pricing
and information on how to penetrate through
Sarpong et al.
104
Journal of Science and Technology © KNUST December 2011
the fashion market successfully (Easey, 2002).
The researchers opine that, successful employ-
ment is created when the economic climate is
favourable, therefore the government of Ghana
should take the acceleration of the growth of
the fashion industry more seriously, especially,
by initiating supports that will make the fashion
industry more attractive and viable, assist in
investment and penetration of the international
market.
CONCLUSION
In the 21
st
century of global challenges in all
hemisphere of life, the innovations and dyna-
mism in the fashion industry cannot be over
emphasized. A great competition is therefore
set among fashion industries in the developed
and the under developed world causing most
vulnerable local industries to collapse. The
fashion industry of Ghana is not exempted in
this regard with the independent fashion de-
signers being the most affected. Their busi-
nesses have been crippled by the influx of for-
eign clothes and textiles on the Ghanaian mar-
ket on the ticket of Trade Liberalization in the
global front. It is an arguably fact that the lib-
eral trade in the global world has had a negative
impact on the local fashion industries. In order
to sustain the businesses of the local designers,
the local industrialists have the hope that the
ban of unnecessary importation of foreign
clothes and textiles, especially the second-hand
types, can go a long way to revive the clothing
and textiles sub-sector. This, to the research
team, is arguably not realistic as Ghana is a
member of WTO whose policies encourage
liberal trade and frown on protectionism. What
Ghana ought to do is to device means of im-
proving the skill and competency base of its
fashion producers to make them efficient, ex-
perts, and result oriented, and to be abreast with
modern technology in fashion. Whiles doing
this, the government must equip and develop
the sub-sector to be viable by resourcing the
independent fashion producers financially to
enable them acquire modern and efficient fash-
ion machinery so as to produce quality gar-
ments to meet international standards.
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