Workshop on Stencil Printing Technique at SFD on 25th January 2017

BlueCrest School of Fashion & Design (SFD) always stands ahead in engaging the students and general public in all creative works and activities. At SFD Ghana we believe in experiential learning and so we encourage Designing aspirants to participate in activities.

On that note the School conducted a workshop on Stencil Printing on 25th January, 2017 at their campus. Core aim of this workshop was to create awareness amongst the audience to consider Textile Design as a career option.

Textile design refers to the art of process of designing the different structures and looks of different textiles or fabrics. Textiles come in a wide range of different colors and patterns, and it is also the textile designer’s job to determine what type of design a certain fabric should have, and how that look will be achieved.

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There are numerous techniques, some are so simple and easy to execute, which one can use for printing and dyeing of the fabric. Participants were trained on a technique called Stencil Printing.

Stenciling is an incredibly easy and open-ended embellishing technique. It can be used to add detail, help harmonize or totally transform any sewing project. Just cut any shape out of a thin sheet of plastic, then sponge fabric paint through the hole to print the shape onto your fabric or garment. The focus of the workshop was skill development among the participants.

This workshop goes in hand with all of us as it’s easy to practice and follow all by ourselves. The workshop was open to all, attend it and get the opportunity to learn the best of creativity at Best Fashion Design School in the country.

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SFD Ghana has also recently launched a Professional Certificate course in Textile Design to provide students with an in-depth understanding of the creation and functional utilization of various textiles. The most common industry that uses textiles is the fashion industry, and the courses in the program will focus on the creation and design of different types of fabrics.

Pictures from the workshop are below:

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THE GLOBAL POTENTIAL OF GHANAIAN FASHION: A NORTHERN-EUROPEAN PERSPECTIVE

A Seminar for SFD students by MRS. DANISH ULLA, Research Scholar, University of Copenhagen, Denmark on 24th November 2016 a BlueCrest School of Fashion Design, Accra

A seminar was arranged for the SFD students on the above mentioned topic by Mrs Danish Ulla, a Research Scholar from University of Copenhagen, Denmark, conducted a series of focus group interviews to get a Scandinavian/Northern-European perspective on the global potential of Ghanaian fashion – inspired by the current fashion export optimism in Ghana. The research question guiding focus group interviews was: Would Scandinavian (fashion conscious) youth wear Ghanaian fashion on an everyday basis?

She recruited a diversified mix of respondents (students, artists, footballers, models, Danish natives as well as Danish-Ghanaians) and presented them with a large number of designs from the most recent collections of the most popular and renowned Ghanaian designers (Christie Brown, Papa Oppong, Pistis etc).

She presented findings to SFD fashion and design students in the form of a short seminar focusing on taste and aesthetic sensibility in Northern Europe to let our students have an idea of what sort of demands Northern European fashion conscious consumers have and what are their particular concerns and reactions when faced with African/Ghanaian fashion. Considered the Accra Fashion Week in October and the general ambition of young Ghanaian designers to attract international buyers, it was of interest by our students to know what young Northern-European/Scandinavian audiences think of the wearability of Ghanaian fashion.

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SFD Students showcased their collections during 2016 Accra Fashion Week

Excellent Collection by SFD Students during Accra Fashion Week 2016

7th October 2016, Accra, Ghana

Students from BlueCrest School of Fashion & Design presented some exciting collections during this year Accra Fashion Week organised at Trade Fair between 5th – 9th October 2016. Designers from across the world showcased their collections, witnessed and covered by global media houses. Below are the details of collections presented by SFD students:

DESIGNER NAME : ELIZABETH

COLLECTION NAME : EASY GAL

The collection is blended with knitted and woven fabrics creating separates of casual line and worked with a bright-toned palette of parrot green, along neutrals. Not so serious ranges, but meant for an easy going girl.

Accra Fashion Week 2016

DESIGNER NAME : LUGARD IRENE OMOROGBE

COLLECTION NAME : MEN IN BLUE

Inspired by African patchwork, it’s a power packed collection with two contrast shades, blue and red.

Fabric goes like mercerised cotton detailed with contrast blood red patches, yokes, ruffles and even golden armlets completes the look for modern men. Half open and full open shirts with mandarin collar , collarless necklines elevated the collection.

LUGARD

DESIGNER NAME : DEBORAH  NANJIKANIM

COLLECTION NAME: CAPE AFFAIR

Inspired by capes , the collection is designed with rich tones detailed with golden details. Innovative capes simple cuts , peplums , clinch waists, knee length skirts makes the entire collection. Duchess, tissue, net were the fabric selection with lace trimmed flower details enhances the entire collection.

DEBORAH

DESIGNER NAME : JENNIFER

COLLECTION NAME : JUNGLE TWIST

An out of box collection inspired by animal prints blended with casual looks makes the collection complete. The fierce line featured with Highlow hemmed skirts, Circular ruffle, Hoody capes, Short jumpsuits. Fabrics choices were, matte printed satin, Mercerised cotton, net.

Jennifer

DESIGNER NAME : FARIDA ALI

COLLECTION NAME: PRINT GALORE

Jumpsuits, exaggerated sleeves, yoke cum capes, tube tops were the choice for the collection coupled with very own African prints.  Muted tones of red and blue, tint of ochre, aqua blue and candy orange popped up the collection.

Farida

DESIGNER NAME : ESTHER

COLLECTION NAME : GRAPHIC REIGN

Titled ‘Graphic reign’, the collection drew inspiration from the graphical designs. Smart and chic silhouettes made their way down the runway in feminine creations adorned with graphical printed , pre-pleated fabric.

Flavoured with white lace details like, circular ruffles, flange sleeves, peter pan collar.

Esther

DESIGNER NAME : SANDRA LAVOE

COLLECTION NAME : GIRL IN ROMANCE

Its hard to separate girl-romance-pink. A vibrant hot pink collection set the mood perfectly when blends with a pinch of black lace details. Mermaid gowns, Pleated peplums, plunging necklines, hide and seek lace details set the flavours. From curve-skimming gowns to circular mermaid skirts, the collection saw a slew of red carpet-worthy pieces.

Girl in Romance

STUDENT NAME : MARJOLEIN

COLLECTION NAME : SAPPHIRE NIGHTS

Gown collections inspired by sapphire stone have seen some glamorous line. Sharing the fabric between matte satin and net, body hugging gowns, strapless gowns, one shoulder gowns, with fur and golden lace details are must have for a lady for a night party. The midnight blue collection is guaranteed to be a hit with fashion A-listers

Sapphire Nights

DESIGNER NAME : GLADYS BOAMAH

COLLECTION NAME:  SCOOP IT UP

An avant-garde collection inspired by spoons, truly a creative side to the core. Spoon shaped patches, spoon as straps, spoons as ornaments, spoons as fringes, what not with spoons is all about scoop it up.

Not an easy call to take on the avant-garde category but made it to work matters the most. Ankle length gowns, mini dress, sheath, halter neck mermaid gowns were the silhouette choices.

Scoop it up

The role of libraries towards national development: Lessons from other countries

Libraries make important contributions to national development. The significance of this article is to assess the roles libraries play in national development and support the advocacy for the inclusion of libraries and access to information in national development plans that will contribute to achieving the Sustainable Development Goals (SDGs); transforming our world: the 2030 Agenda for Sustainable Development (“UN 2030 Agenda”) and the Africa we want (“AU 2063 Agenda”).

Libraries have shown that they can drive meaningful progress across agenda. The SDGs are universal; each country is responsible for the development and implementation of national strategies to achieve the SDGs, as well as monitor and evaluate the progress of achievement of these SDGs.

The inclusion of library communities in the development of national strategies will offer them the opportunity to contribute towards the advancement of development priorities. Advocacy is an essential tool used by libraries to justify their role as engines of local development, and ensure that they are resourced adequately to contribute towards national development by standing as a pillar in educating and repackaging information for better consumption and understanding by a targeted populace.

Declaration

In August, 2015, The Cape Town declaration was inspired by the principles enshrined in the charter for African Cultural Renaissance, the global sustainable development agenda and the level of commitment to prioritise and resource libraries as part of Africa agenda 2063. Hence, the deliberation on the status of libraries in the continent and the progress required to meet the global sustainable development goal.

Among the objectives (only four are listed here) to improve African libraries with the aim of contributing to national development. They are; providing the necessary resources for the development of African Libraries to respond to modern day challenges and provide access to merging technologies; fast tracking the implementation of continental innovation strategies to improve ICT and knowledge management; encouraging the sharing of skills, collection and preservation of African stories from our own communities and encouraging the development and promotion of local content libraries in Africa as part of the promotion of the African Renaissance and Pan Africanism.

GLA

The Ghana Library Association (GLA) was founded in 1962 and is registered under the professional body decree NRCD 143 of the 1973 with a registration number PB 21. The GLA has the mandate to unite all librarians and institutions in Ghana interested in library and librarianship

It is also to be instrumental in promoting the establishment and development of library and information services, bibliographical work and library co-operation, while also promoting and safeguarding the professional interest of librarians

In effect the GLA is the overall head of all libraries in Ghana, be it public, academic or special libraries. One would ask, is the GLA still functional? If yes, how effective, organised or united is it? As stated in the constitution of the association “to unite all librarians and institutions in library and “librarianship”.

Can Ghana realise agendas 2030 and 2063?

The success or failure of Ghana in the achievement of the targets set by both agenda is dependent on two main factors. These are a recognition of libraries and librarians as an engine of access to information (timely, well packaged, targeted and readily available and less expensive).

The second factor is that the advocacy and strategies adopted by the GLA should be in partnership with government and all stakeholders.

Libraries are proven to be cost-effective partners for advancing development priorities. Many countries have designated libraries to be repositories for vital information and knowledge. This makes libraries an important venue for information about personal development, hence; national development. Libraries are already supporting progress towards access to information and national building.

Promoting literacy

In goal two of the UN agenda and aspiration one of the AU agenda 2063, the objective is to eradicate poverty at all levels, in all walks of life. Other countries have relied on libraries to pass on valuable information to the prospective targets, example, in the attempt to increase the production and income for small-scale food producers or farmers.

In Romania, public library staff  trained under the Biblionet programme worked with other partners including the Association of Libraries of Romani (ANBPR), the Ministry of Culture, local and national government and public libraries across the country, Biblionet helped libraries to breathe new life into Romanian communities by helping 100,000 farmers to use ICT.

Could the Ghana Library Association and Ministry of Agriculture and other stakeholders learn something?  Is there no such thing in Ghana? Are both the Ministry of Agriculture and the GLA slumbering or is it a case of lack of creativity/innovation? If  efforts are already made by the GLA to play a key role in information dissemination, then it must be carried out as a matter of urgency. The cocoa and other cash crop production can gain an immense growth and advancement when such innovative ways are employed.

Promoting lifelong learning opportunities without limitations towards religion, gender and age. The UN agenda goal four and goal five and the AU agenda aspiration six, targets the development of people by ensuring quality, equitable education among all ages.

These targets seek to achieve the enhancement of the potentials in women and the youth not leaving out anyone. This is an education that would be sustainable and a lifelong journey. People will know where, how, when to find information, preserve and disseminate it without distortion.

Public libraries in Botswana have taken large strides towards supporting government objectives under its National Vision 2016, which includes introducing ICT access, improving the computer skills of library users, and enabling users to be successful in business, education and employment.  With this vision people trained in ICT can develop in so many ways in their diverse professions with access to readily available information.

Partnerships for literacy

When the government equips the GLA properly, providing enough budgetary support and infrastructure, libraries across the nation will stand as a meaningful tool to effect a long lasting change. All over the world, there has been practical success stories about library playing a key role in poverty alleviation,  education, better well-packaged information for farmers, improving the quality of lives and encouraging lifelong learning.

In Sri Lanka, the government and its partners initiated a programme called the Nenasala programme. This initiative is run to increase  digital literacy and access to information among the nations’ remote and poorest areas.

Nenasala (Wisdom Outlet) is a telecentre project by the Government of Sri Lanka. Developed under the e-Sri Lanka Initiative which was implemented by the ICT Agency of Sri Lanka. Communication centres are continuously built by the government in rural areas to fight poverty, develop culture and commerce, and sustain peace. There are 751 such centres in the country.

In Mongolia,  about 15,000 persons either with poor vision or blind are employed. In the year 2010, Ulaanbaatar Public Library (UPL) and the Mongolia National Association of the Blind built two recording studios to create talking books in a digital DAISY format that has increased the amount of accessible materials, and opened up new worlds of learning for the visually impaired people.

In conclusion, the significant contributions and usefulness of libraries and librarians cannot be over emphasised. In the attempt to achieve these goals and aspirations, policy makers, the government and the GLA should come together to form a formidable force with a core-defined path to follow to make our world better.

Williams Bandoma

The writer is a librarian at BlueCrest College Ghana and an information professional. His email is: bandomawills@ymail.com

Changing Trends of Fashion Education in Africa – Shift from Construction to Designing

Imagine yourself two decades back, when you would have expressed your desire to choose a career in fashion designing like one of your relative, managing a boutique. You would have been scolded by your parents on your aspiration to become like a tailor. Early 1990s was an era when most of the high school graduates were interested or counseled to opt for computer science, medicine or engineering at tertiary level. But thanks to risk takers as they opted for designing, which was then emerging in India in 1994 and lot of youngsters (both female and male) were opting fashion, textile and graphic design as full time careers. We suddenly saw a host of private institutions with international tie-ups setting up fashion design schools in major cities with good number of students opting to study there. Now i realise the mantra behind their success in early years. It was their strategic shift in disassociating themselves from the part-time career option to full-fledged opportunity and integrating international curriculum in their execution, which i feel that was done after a lot of research. I also realised that hardly any design school was promoted by a fashion designer.
Formal fashion education in Africa has existed since the early 1970s, with East and South Africa taking the lead. When government across the continent started concentrating on vocational and technical training for increasing employability among youth, garment construction and “fashion design” took a centre stage when promulgating projects for women. Most of these vocational and technical courses in design were inclined towards teaching students tailoring skills, which definitely was more job-oriented and fulfilled government’s mandate for skills development.
African fashion is increasingly being accepted and adopted in across the globe, an indication of good quality, but designers within Africa are yet to find a fully sustainable market locally. Some experts believe that the fashion industry in Africa is, more or less, a cottage industry, faced with gaps that scare investors from committing to developing the sector. There is a fashion education gap in Africa, a factor responsible for the low number of professionals in the industry and the not-so-serious perception accorded to the sector. Very few universities across continent are offering first or master’s degree in fashion. Most of the designers in Africa who made it to the top of the chart studied from schools in Europe or America.
What are some of the factors which should encourage development of fashion education in Africa? 
  • The world seems to be fascinated by African culture and design. There is growing interest in African fashion and African fashion designers based in Europe and North America. As per Adiat Disu, Director of Africa Fashion Week in New York City: “There are quite a few designers operating directly out of Africa. At least 50 percent to 75 percent of our designers who showcase in New York’s Africa Fashion Week come from Africa. Equally important are the many designers based in the UK and U.S. who outsource to Africa, working with African designers, tailors, and seamstresses back home.”
  • A rising number of urban and small town consumers purchasing branded fashion have led to the growth of branded retail industry in Africa. Many foreign and African multinational labels are eyeing an entry into this lucrative market. New studies are also boasting about the future prospects of the continent’s luxury market. The luxury market is poised to expand multiple folds since the number of millionaires expected to multiply in coming years. According to the 2014 Ventures Africa Rich List, there are 55 billionaires in the 55 countries that criss-cross the continent. Meanwhile, New World Wealth counts 165,000 African millionaires, who together hold an incredible 28 percent of the continent’s total personally-held wealth. This rise in the urban customers and billionaires are opening up an opportunity for African designers to sell common and celebrity designs to them.
  • There is a huge gap in supply of trained designers due to unavailability of professional schools and universities offering specialised courses in fashion design. Existing schools mainly in South Africa, Ghana, Nigeria, Ethiopia and Kenya have done an excellent work in bringing design education to the forefront of career options available for youngsters. This has also prompted agencies to host numerous fashion weeks in most of these countries where students can showcase their creativity, which was not the case earlier.
  • After interviewing more than seventy graduates from various universities and polytechnics in Ghana for our design school project, i affirmed my belief on why we need a strategic shift in the design education. A lot of students want to get higher qualification in design, but are left with very few options to select from. Most of the qualification available in the universities and polytechnics are still influenced by early employability syndrome. Students are made to understand that stitching garment is one of the major skills they should learn, which will make them more employable. But, if we compare curriculum of design schools in Europe or America with one available in Africa, we will realise the striking difference in the approach. I also believe that multiple factors combined enhance the design and creativity skills of a “designer-in-making”. Illustration, drawing, history, merchandising, CAD, manufacturing technology, fabric science, surface ornamentation, forecasting and a host of other subjects are core to becoming a designer along with garment construction.
If we accept this shift in our fashion education, in the world of fashion, there exists a massive opportunity for fresh fashion ideas, business and growth and Africa is key to it. In fact, there are massive areas of ‘”newness” in fashion which can be incorporated to take a lead in this sector, technology is one of them. I must say that there are institutions like LISOF, BlueCrest School of Fashion & Design, and others, who are the trendsetters in this change. I am sure that’s the reason why BlueCrest School of Fashion & Design has been awarded the Fastest Growing Fashion School in Accra Ghana. Universities should also focus on launching new programmes in fashion designing to fill this gap, as a shift from construction to designing is required to put Africa on the top of fashion map.

Importance of Creativity: You as a Creative Person

Importance of Creativity by Mitchel Tetteh, Lecturer (Design and illustration), SFD Ghana.

 

The fashion industry strives on creativity. From the very moment the need to cover the nakedness of mankind creativity rose. Creativity moves the world. Creativity enables easy work in every sector and every aspect of life.

 

In fact creativity is never limited to the arts. The doctor, administrator, teacher, the nurse, banker etc, have ways they express creativity in their respective professions.

Some creative behaviours

Daydream/fantasize. According to Kaufman and psychologist Rebecca L. McMillan, co-authors of a paper titled “Ode to Positive Constructive Daydreaming,” mind-wandering can aid in the process of “creative incubation.”
The creative person is always looking for something to do. He is always looking for faults, imperfections etc. to correct, where with creative fashion designer and with designers in general, the clause ‘IF’ is in great use. If it’s here and not there, what happens? As he does this to his environment, to his room furniture, in the office, as a creative, he does it to the garments he sees worn by people in the streets etc. and he cause change and evoke new ideas to the garments to set pace in the industry.
  1. Observe everything/ being observant.
  2. Peculiar working hours
  3. Solitude/ time to be alone
  4. Turn obstacles around
  5. Easily bored
  6. Seek new experiences
  7. playful
  8. Fail-up freak/ risk taking
  9. Ask the self questions
  10. People-watch
  11. Follow passion
  12. Builds to enter flow state/ looses self
  13. Surrounds self with beauty
  14. Connects the dots
  15. Avoids monotony/one way/routine
  16. Meditation

Thinking outside the box

There must be a box, the way things are done, and then outside the box meaning the manoeuvring around the way things are done to effect extraordinary results.

Practically as student creatives in our school environment

He offers to help in time of need. He is the last man to say no to duty. When everybody is running away from the job, although might be shy, masters courage and sees what he can do to save the situation. This must be within his passion though.
His creativity affects his environments. He is very curious about presentation. His environment is receptive and welcoming although he has his ugly studios. He sees to it he cleans the mess in the studios from time to time because a messy studio cannot encourage creativity. What then should happen in our studios after work although we know there are cleaners?
The creative person carries this cleanliness to the streets. And that is how the society can benefit from this creative person’s creativity. He does not wish to see filth so he will not litter his environments though he knows there are cleaners. The cleaners are paid with your taxes so when you deal with your filth and there is no filth to clean, the cleaners will be served with other duties which will help cater for your other needs in society.
The creative person needs peaceful environment to create thus he creates this environment for society. Conflict, strife, fighting, friction, envy never encourage creativity. The creative person never or should not get angry with another person rather he attacks the issue. He can be mad at himself for not ceasing an opportunity to express himself better. He is friendly, and he encourages peace in his environment all the time. Mind you, your contender can make you angry to distract you from making good designs to win a contract he biding with you.
To conclude, Creativity is lived. When you are a creative person, it must show with you. The way you express yourself, carry yourself around, your speech, when you solve it well another way. Creativity is when you use what everybody has differently. Creativity is not when you expose nudity/nakedness on campus in the name of fashion.
This piece of article was presented by Mr. Mitchel Tetteh during a ceremony in Accra.

Image Source: www.dioceseofnewark.org

$2.1 trillion Global Apparel Market by 2025: Decoding opportunities for African Apparel Industry

Introduction
Apparel and textile are among of the worlds largest industries.The global fashion apparel industry has surpassed the market size of US$1 trillion since 2013, now it represents nearly 2% of the world GDP, and almost 75% of world’s fashion market is concentrated in Europe, USA, China and Japan.
Between 2007 and 2013 the market increased with an average annual growth of 5.1%. Currently, womenswear accounts for 50.0% of the global demand while the remaining market share is divided between menswear (34.5%), clothing accessories (3.9%), babies’ garments (2.8%), gloves and mittens (2.3%), headgear (2.0%), other garments (4.1%) and parts of garments and clothing accessories (0.5%). Brazil, China, Italy, Japan and the United States represent the largest apparel markets while the strongest annual growth is forecast to occur in Tanzania (17.5%), Bangladesh (14.3%), Ethiopia (13.4%) and Cambodia (13.1%).
What is Fashion Industry?
As per britanica.com, Fashion industry is a multibillion-dollar global enterprise devoted to the business of making and selling clothes. Some observers distinguish between the fashion industry (which makes “high fashion”) and the apparel industry (which makes ordinary clothes or “mass fashion”), but by the 1970s the boundaries between them had blurred. Fashion is best defined simply as the style or styles of clothing and accessories worn at any given time by groups of people. There may appear to be differences between the expensive designer fashions shown on the runways of Paris or New York and the mass-produced sportswear and street styles sold in malls and markets around the world. However, the fashion industry encompasses the design, manufacturing, distribution, marketing, retailing, advertising, and promotion of all types of apparel (men’s, women’s, and children’s) from the most rarefied and expensive haute couture (literally, “high sewing”) and designer fashions to ordinary everyday clothing—from couture ball gowns to Juicy Couture-brand sweatpants. Sometimes the broader term “fashion industries” is used to refer to myriad industries and services that employ millions of people internationally.
Trends for Apparel Market  and Opportunities for African Apparel Industry
I will take the global market forecast for apparel market as presented in a report by Wazir Management Consultants, (http://www.wazir.in/pdfs/The%20Road%20to%202025%20-%20Wazir%20Advisors.pdf) The Road to 2025: Textile and Apparel Sector Trends and decode opportunities for the African apparel industries. While doing so, i will refer to ninth edition of the Deloitte Consumer Review, which focuses on African opportunities for consumer businesses in 21st Century (http://www2.deloitte.com/content/dam/Deloitte/ng/Documents/consumer-business/the-deloitte-consumer-review-africa-a-21st-century-view.pdf).
Trend 1:
Global apparel market will cross the US$ 2 trillion mark from the current value of US$ 1.1 trillion. This means an addition of US$ 1 trillion in the market which presents a huge business opportunity for sector players.
Global Apparel Market Size 2012 (In US$ bn.)
S. No.
Region
Apparel Market Size
Apparel Market Share
Population Share (~) Source: www.worldmeters.info)
1
EU-27
350
32.00%
8.00%
2
United States
225
20.00%
4.40%
3
China
150
14.00%
18.60%
4
Japan
110
10.00%
1.70%
5
Brazil
55
5.00%
2.80%
6
India
45
4.00%
17.90%
7
Russia
40
4.00%
1.90%
8
Canada
30
3.00%
0.50%
9
Australia
25
2.00%
0.30%
10
Rest of World *
75
7.00%
43.9%
Total
1,105
 
Rest of World Population Share
S.No. Region / Country Apparel Market Size Population Share (~) Source: www.worldmeters.info)
1 Asia without China, India and Japan 75 21.50%
2 Africa 16.40%
3 Latin America and the Caribbean without Brazil 5.80%
4 Oceania without Australia 0.20%
Total 43.90%

 

The current global apparel market is estimated at US$ 1.1 trillion which forms nearly 1.8% of the world GDP. Almost 75% of this market is concentrated in EU-27, USA, China and Japan. In terms of population, these regions are home to only one-third of the global population, signifying high Per Capita Spend on Apparel (PCA) in these developed markets. The next largest markets are Brazil, India, Russia, Canada and Australia, in descending order.

The rest of the world with a population share of ~44% has a minuscule share of <7% in the global apparel market.

Decoding African Opportunity 1
The continent has shown eagerness to develop its clothing (apparel manufacturing) capacities for some time now, but efforts have been frustrated by dearth of infrastructure, capital and Asia’s domination of the industry globally. However, with cost of production rising in China, Africa may have been presented a golden opportunity to ‘reclaim’ its fashion industry and invite long-term investments.
As per the report published by Deloitte, African economy is expected to grow by 7.7% annually between 2014 and 2019, about double the rate of advanced economies. The relative importance of Africa in delivering global growth is likely to increase with the slowdown in the growth of China, Russia and Brazil. By 2030, 321 million Africans will be aged between 15-24, younger African form a large share of the rising middle class and will seek to access a wider choice food, consumer goods, fashion and cosmetics.
In Rest of World including Africa, it is expected that by 2025, the PCA will grow at a faster rate than the economy in Brazil, Russia, India and China; whereas it will be slower or at par with the economic growth in developed markets. African PCA annualised grow rate will be around 6.0% by 2025, as compared to USA at 1.0% and Brazil at 4.0%. Although it will be lower than China and India at 10.0% and 11.0% percentages respectively.
The Apparel market size for Rest of World including Africa is going to be US $195 bn by 2025 growing at a CAGR of 8%. If this is decoded based upon the share of population, Africa alone will have an estimated apparel market share worth of US $73 bn. by 2025, which is 2% of the projected GDP of US $4.5 trillion of Africa in 2025 (Source: www.cips.org, report by Frost & Sullivan).
Trend 2:
Changing consumer preference: more capable and more willing
Young African  are not only focussed on quality but they are also brand conscious. For them quality  of fashion and cosmetics is linked to international brands. A huge and capable middle class is emerging and supermarkets and shopping malls are beginning to replace informal shops and market places.
21% of the continent’s population is accessing internet, which is estimated to increase to 30% by 2017. More and more young Africans use mobile phones as the  main source to access Internet.
Decoding African Opportunity 2
As per Deloitte research, despite low income levels, young consumers attach more importance to the quality of the products than price. Their preference for international brands are more in fashion cosmetic and personal care than food.
Online retailing is to grow faster and emerge as a profitable business model across Africa. Within the online sales, apparel retail accounts for 18% globally today. Apparel & accessories is the fastest growing category of online sales among nine major categories, as per eMarketer.com. Apparel sales will grow 16.4% in 2016, as compared to total e-retails growth of 13.3%, as per the same source.
Trend 3:
As per report published by Wazir, the share of Chinese exports in global trade is expected to reduce from 40% currently to around 35% by 2025. The global trade in textiles and clothing during this period is expected to grow from around US$ 700 billion in 2011 to US$ 1,700 billion by 2025 at a CAGR of 6.5%, whereas Chinese exports will lag behind registering a growth of ~ 6%.
Such a long term slowdown is in contrast to a regime of high growth attained by Chinese exports over the last two decades. This lower-than-market performance will create a vacuum of US$ ~108 billion by 2025. China’s loss of share in global trade will throw up opportunities for other exporting nations like India, Bangladesh, Pakistan, Vietnam, etc. to take up the market share.
Decoding African Opportunity 3
As per Wazir.in the global manufacturing value chain will attract investment worth US$ 350 billion to cater to the additional apparel market demand of US$ 1 trillion by 2025.
The additional global apparel demand by 2025 is projected to be US$ 1 trillion, moving from a market size of US$ 1.1 trillion in 2012 to US$ 2.1 trillion in 2025. This growth will be on account of an increase in both value (price) and volume. This implies that additional manufacturing capacity will be required to cater to a market demand. Going by the analogy huge investment will be required to create the entire manufacturing infrastructure – from yarn to garments.
This surge in the demand provides an opportunity for manufacturers to fill in the supply gap, as India and other countries alone can’t fulfill the increased demand.
Decoding African Opportunity 4
Increase in the overall apparel market in Africa and estimated growth factors provide an excellent opportunity to designers based in Africa to turn their small-scale fabrication units to be more export oriented.
Note: My purpose of bringing together data on the growth trends in apparel market is to establish the importance of this sector in Africa for more and more students to take up a career in fashion and related sector. I don’t have any intention to forecast and project the sector’s growth as an economist.

Image Source: appareltruth.wordpress.com