Africa as a continent is well noted for its artistry and culture which form integral part of everyday lives of the people. Africans portray themselves with rich material culture and this is expressed in the fabrics they adorn themselves with. Notable among such fabrics are the types known as “African prints” which are actually not of African origin but have come to be accepted as part of African textiles with incorporation of traditional motifs. A survey of the sales and usage of the prints shows that consumers mainly used the prints for making garments and accessories. With variety of colour ways, symbolic motifs, textures among others, consumers have the choice to select from a wider range of the prints thatbest suits the intended purpose. This paper assesses consumer preference of African Wax prints to ascertain the buying drivers that influenced consumers in choosing specific print for specific fashion need. The study finds that consumer preference for the prints have changed significantly due to dynamism in today’s fashion trend and needs of consumers. Factors such as brand and quality, colour scheme, pattern size and layout, symbolism and cultural significance and adaptability of the print design to fashion styles are the main driving forces that influence consumers to choose a particular print for specific need. It is recommended therefore that textile and fashion designers should make concertedefforts to consider these factors in their design process so as to satisfy the needs of their consumers to promote the prints both locally and internationally.

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Festivals are intrinsic aspects of the culture of a group of people and allow displaying interesting crafts and elements such as fabrics, symbols, folktales, and paraphernalia. The dynamism in the culture is vast but unexplored as inspiration for the creation of products. This created the need to explore the possibility of designing contemporary print and products from these crafts and elements from two festivals (Aboakyir and Gologo) using Adobe Photoshop in the design process. This phenomenon necessitated the consideration of this project which was undertaken by employing the design-based practice coupled with observation as an instrument. Elements related to the festivals were identified and using the design process, print designs were developed and further simulated on different products. This practice seeks to promote the cultural heritage of the people to a wider populace and the world at large. It is recommended that the Traditional Council should have a museum or gallery for keeping the artworks used in their festivals for archival purposes.