This study explores the integration of Adinkra symbols into the set design of Ghana’s Most Beautiful (GMB), a popular beauty pageant and reality TV show that has aired on TV3; a private television station in Ghana. GMB showcases beauty, intelligence, cultural knowledge, and traditional values, celebrating Ghana's rich cultural heritage through female contestants representing the country's diverse ethnic groups. In response to the lack of coherent Ghanaian artistic elements in previous set designs, this study employed an artistic methodology to incorporate four Adinkra symbols, Okɔdeɛ Mmɔwerɛ, Duafe, Dweninimmɛn, and Mate Masie, into the set design for the show’s eighth season. These symbols, signifying beauty, strength, wisdom, and unity respectively, were creatively integrated into a crown-like set design for the grand finale, harmonizing aesthetic trends with cultural significance. The design process was informed by rigorous research and stakeholder interviews, ensuring that the selected symbols conveyed the intended cultural messages. The results highlight the potential of traditional symbols to enhance both the cultural relevance and visual appeal of television productions. The project enriches the cultural depth of GMB production and offers a blueprint for incorporating indigenous symbols into contemporary set design. The study recommends that future productions continue exploring traditional symbols to deepen the appreciation of Ghanaian heritage and strengthen cultural identity through visual arts.

The main purpose of this study is to investigate students’ awareness, understanding and use of the information on care labels. Quantitatively, the study adopted a cross-sectional survey design. The population of the study comprised all the Family and Consumer Science students at the University for Development Studies, Nyankpala campus, Tamale. Morgan and Krejcie chart, was used to select 159 out 270 students. Data collected were analysed using IBM SPSS with descriptive statistics which included mean, standard deviation, frequencies and percentages. Findings of this study proved that students do not always use the information on care labels when purchasing and caring for clothes and cannot identify the symbols on care labels that do not directly link with their meaning. This study has practical implications for students by using the information on care labels when purchasing and caring for clothes. Students should likewise find ways of identifying the symbols even without their meanings. The Social Implication implications of this study also postulates that local clothes manufacturers should be encouraged to create their labelling schemes for care labels that will be peculiar to how Ghanaians care for their clothes as they exist in other countries. Organizations and bodies that formulate the symbols should make sure the shape of the symbols has a direct link with their meaning to aid in their understanding and usage.

This study seeks to introduce an interactive design concept by merging Adinkra and Bogolanfini symbols into textile designs and convert them into utilitarian products. The qualitative research design method and the human-centred design approach were employed to identify, understand and assess how effective Adinkra and Bogolanfini ideographs can be adapted for textile designs and other product applications. The target samples for this study comprises variety of Adinkra symbols and Bogolanfini patterns. The significance of sampling in this study was to select suitable kinds of Adinkra and Bogolanfini patterns. Lines, shapes and texture were utilised to determine which particular symbols were included and which were not suitable. The CorelDraw vector software was used to convert and develop images of the Adinkra symbols and Bògòlanfini patterns and then manipulated into the final textile design. The design outcomes are indicative of the fact that varieties of Adinkra symbols and Bogolanfini patterns are prospective image resources for textile designs. The study recommends that textile design students and practitioners at various institutions and dispositions should be encouraged to explore the breadth of ideographs available across the West African sub-region for design ideas.