This Practice-based research explores the innovative application of textiles in the creation of decorative flower vases, positioning them at the intersection of functional design and contemporary art. The study investigates the potential of techniques such as weaving, embroidery, and applique to transcend the conventional boundaries of the medium. Through a methodological framework combining material experimentation interviews with textile artisans and pottery producers in Accra, and critical reflection, the research examines the interplay of materiality, form and aesthetics. It integrates traditional Ghanaian motifs with modern design principles to create culturally resonant, sustainable artworks. The findings demonstrate textiles' significant versatility and creative capacity for producing unique decorative objects. This study contributes to discourses on material innovation and sustainable design by highlighting textiles as a dynamic medium for artistic expression. It offers practical insights for artisans and designers, underscoring the role of textiles in evolving traditional crafts for contemporary contexts.

The purpose of this study was to assess the structural attributes of black and white Printed Printex Textile Fabrics in Ghana. The study adopted a factorial experimental research design. The three fabrics with black prints and white as base colours were purchased from the market. These three fabrics had the same designs but two had different fabric finishes and the third one had no finish (plain, embossed and plisse). Key soap purchased from the Ghanaian market and standard soap from Ghana Standard Authority were used for the study. A purposive sampling procedure was used in choosing the fabrics and soap for the study. Specimens totalling 219 were cut randomly from along the warp and weft directions of the Printex black and white cotton fabric with finishes (plain, embossed and plisse). The use of laboratory experiments and the apparatus used to experiment. The data obtained were presented using both descriptive and inferential statistics. The descriptive statistics (frequencies, percentages, means and standard deviation) were used as summary statistics of variables of the study. The one-way analysis of variance (ANOVA) was used to test for significant differences among three variables (three washing cycles), whereas the independent samples t-test was used to test for statistically significant differences between the performance of the fabric finishes under Key soap and the standard soap. The study indicated that differences in the attributes of the finishes caused differences in the structural attributes of the fabrics. This was because some of the finishes required certain structural attributes to bond well with the fabrics. The implication is that continuous washing weakens the structural attributes of fabrics which causes them to fail or weakens their resistance to stress tests. The study, however, found that differences in the structural attributes of the fabric finishes caused differences in the effects of washing on the selected fabric finishes. It is recommended that Printex Textile Limited should place critical emphasis on the weight of the fibres used in the construction of the fabrics. This was necessary since the study found that the fabric finish with the greatest weight performed better in tensile strength than those with the lowest weight. As a result, the use of fibres with high weight is expected to improve the use and care of the fabric finishes in terms of their ability to resist stress or tension during washing.

This study seeks to collect, recycle and repurpose fabrics waste into decorative household items to reinforce the concept of recycling as a viable alternative to indiscriminate dumping that leads to environmental pollution. It has been observed that garment producers, fashion designers, dressmakers, seamstresses and tailors generate several quantities of fabric waste which are initially piled up to occupy space at their workshops then later disposed indiscriminately. For this studio-based study, an average of 300kg of fabric remnants which are generated by the 30 workshops of garment producers in four suburbs of Kumasi in the Ashanti region of Ghana were collected. The fabric waste was sorted into types, sizes, colours and textures, out of the 300kg collected, approximately 250kg were identified as cotton and the remaining 50kg were an assortment of polyester, nylon, rayon, wool, acetate and sateen. It also came out that the garment producers lack adequate knowledge on waste management, hence the indiscriminate disposal of the waste fabrics. The need for effective means of recycling without adverse repercussion to the environment was found critical. Based on the idea of recycle art, 280 kilograms of the fabric waste collected were converted into interior decoration pieces such as a pair of footrest, a set of arm rest, a set of chair-back, Others include a set of table mats, a set of placemats, a door mat, and a set of curtains and window blinds. It is anticipated that such craft activities will serves as pointers to craft people about the potential of waste fabrics as cheaper raw materials for diverse products and by extension help to reduce the waste management problems associated with fabric waste.

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.