This design experiments convert indigenous West African textile design elements from a limited application in clothing into a breadth of interior design pieces that are expected to have a wider appeal. Textile designing is an integral part of textile production in West Africa and by far the most predominant art practice in the region. Textile production techniques vary from one place to another in the region and some of the common techniques are tie-dyeing, tritik, batik, indigo dying, embroidery, patchwork, appliqué, discharge dyeing, direct printing and resist printing. Designs are developed from sources such as body paintings and tattooing, indigenous symbols, proverbs, occasions and major events, important personalities, natural and artificial objects. Other textile design forms have also evolved from textures produced by the actual processes of fabric construction and the effects of colour variations of yarns such as stripes, bars and checks. However, fabrics are designed mainly for clothing and to some extent craft items and that limits the patronage and application of those fabrics. Furthermore, the processes of designing and production are mainly manual and so reproduction or uniformity in mass productions and mass customisation is besieged with lots of challenges. These design experiments take a more comparative view of the indigenous West African fabrics and the central motifs in the design compositions are Adinkra and Adire and the background referenced Bogolanfini symbols. The human centred design approach was adopted for the practical experiments; it entails as a step-by-step guide to externalise creativity, taken cognisance of the people the designs are meant for. The background data came largely from documentation, archival records, and observation of physical artefacts. This project experiments with a breadth of materials such as lycra, canvas, soft velvet fabrics, foam, wood and techniques for a range of products such as retro chairs, cushions and wall panels.

This paper is a part of a broader research into textile design technology and trends across the world and their reflection on the local Ghanaian textile industry. It places conventional manual screen printing and digital textile printing technologies side by side and discusses the various drawbacks of screen printing as against the advantages of digital textile printing to illustrate a path for a wider consideration of the latter in Ghanaian small to medium scale textile production. Short-run textile printing commissions are the main source of jobs for small to medium scale textile producers in Ghana. And manual screen printing is the main process employed by these small-scale textile printers. However, screen printing has various layers of limitations such as poor registration of the design, stains, pinholes, colour correctness, colour consistency, colour smear, dye migration, scorching, improper curing, amongst others. These layers of limitations negatively affect the overall outcome of the prints. So, as it stands now, short-run textile printing commissions are either produced manually, of course, with several inconsistencies or outsourced to China and other countries at a higher production cost. This is because, the large-scale textile factories in Ghana could print a minimum of 2400 yards due to their machine settings, calibration and running cost to make the least returns. This study highlights some of the milestones in the development of digital textiles print machines and examines some of the key aspects of their tremendous production aptitudes for short-run textile commissions. The case study research method is used because data comes largely from documentation, archival records, interviews and physical artefacts. Keywords: Textile Design, Digital Textile Printing, Screen Printing, Short-run Prints.

This paper investigates the socio-cultural challenges of the small-scale batik and tie-dye production and retailing industry in Ghana. The research is based on a qualitative research approach that employs interviews and observation for data collection. In all, sixteen (16) participants were sampled through purposive techniques. Data collected were transcribed, classified and analysed through thematic and descriptive analysis. The study found that family roles contradict the business role, pressure from family members, poor support from society members, some religious teachings, age, ethnicity and lifestyle of certain people among others. The study concludes that socio-cultural challenges have led to the collapse of most batik and tie-dye production and retailing sectors leaving thousands of Ghanaians jobless. It recommends among others that producers and retailers of batik and tie-dye must separate family roles from work responsibilities to enable them to perform effectively. Again, family members, parents and peers must desist from putting pressure on the entrepreneurs for freebies and the government must resource NBSSI, GEPA and GSB to have regular in-service training to batik and tie-dye producers and retailers to address poor financial management and technical challenges and also on product quality on the international market.

This study investigated on promotion and preservation of indigenous textiles and culture in Ghana using qualitative approach. Tour guides, curators, historians and artisans were selected as accessible population as they possessed knowledge of the cultural significance, historical context and traditional methods of textile preservation. The study used a combination of convenience or purposive sampling with random stratified sampling to select 12 respondents (3 from each group) across different regions of Ghana, ensuring a representative sample. The study concluded that indigenous Ghanaian textiles are an essential part of the country's cultural heritage. The use of indigenous textiles in various cultural activities is crucial for preserving and promoting Ghanaian culture. These textiles are deeply intertwined with Ghanaian cultural practices and play crucial roles in transmitting customs and traditions to the outside world. Therefore, it is recommended that efforts should be made to document and preserve indigenous textiles and promote their use in various settings, including formal occasions and cultural events. This will help preserve Ghana's rich cultural heritage and promote cultural tourism in the country.