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UNIVERSITY OF NAIROBI

College of Architecture and Engineering

School of Arts and Design

BDS 413: PROJECT PAPER

(Fashion Design Specialization)

CREATING ASPIRATIONAL, AFRICAN INSPIRED READY TO

WEAR ATTIRE FOR THE MEDIA MIDDLE CLASS WOMAN IN

KENYA.

By

Michael Kimanthi Nguthu

Supervisor,

Dr. Lilac Osanjo

Project Paper submitted in partial fulfillment of the requirement for the

Bachelor of Arts in Design Degree submitted to the School of Arts and

Design (St.AD) College of Architecture and Engineering (C.A.E),

University of Nairobi.

8th December, 2015

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Declaration

I, Michael Kimanthi Nguthu, declare that this is my original work

and also affirm that to the best of my knowledge, this project has

not been presented in this or any other University for examination

or any other purpose.

Signed: ………………………………..

Date: ………………………………….

Michael Kimanthi Nguthu

A Research Project submitted in partial fulfillment of the

requirements for the award of the degree of Bachelor of Arts

(Design) at the University of Nairobi.

Supervisor,

Mrs. Lilac Osanjo

Signature: ………………………………

Date: ……………………………………

Director, School of the Arts and Design (StAD),

Dr. M. Kinyua

Signature: ………………………………

Date: ……………………………………

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Dedication

I would like to dedicate this project to my Lord and Saviour Jesus

Christ because it is through Him I live and move and have my

being.

I also would like to dedicate this project paper to my very

supportive workmates. I would not have finished this project paper

if it were not for their encouragement and support, even if it meant

whining about how hard it was.

I would also like to acknowledge my parents for being supportive

of my decision to join design school. I am indebted to them for this

future of a fulfilling career in fashion.

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Acknowledgements

I am deeply and eternally grateful to God for all He has done for

me. Gratitude reverberates though my entire being for the strength

and guidance (and patience) He has given me throughout this

entire semester.

I am also grateful to the entire staff at Soko, more so the

management team for their support and understanding, without

which I would not be writing this right now. I am grateful also for

the exposure and the literature that they have exposed me to, which

has immeasurably informed my research.

I am also grateful to my parents who have blessed me with prayer

and encouragement, which has helped me through the entire

process of writing this book with their co-operation and

consideration.

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ABSTRACT

The Kenyan fashion industry is laced with a number of issues.

Mitumba is currently the biggest one, as it single-handedly hinders

the growth of the textile industry and the apparel and accessories

industry. Other issues include the lack of support from the Kenyan

Middle Class, which may have the spending power to build and

sustain the local fashion industry, while also sustaining other

industries in Kenya. Their exponential growth could be a key

indicator of how things will be to come in the coming years, which

means that Kenya would become a middle income economy, and

by setting the basis for ‘buy Kenya, build Kenya’ at this point

could prove to be strategic for the other designers years to come.

Globally, the fashion industry is notorious for the disregard of the

rights of the workers involved in the production of their clothing.

People and planet are damaged in the process of producing cheap

clothing that will only be worn once, before being thrown away in

landfills or being ‘donated to charity’, where a small percentage

would be sold through charity shops in the west before being sent

over to the third world countries, thus strangling their local

economies. This research aims to prevent such an occurrence from

happening in the local fashion industry through the use of local

communities in the production on beautiful, aspirational clothing

that the middle class would resonate with and support, thus

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changing the method fast fashion is done in the Kenyan fashion

industry where both parties win- local tailors and artisans win, and

consumers win through attaining access to beautiful, locally

inspired, locally made, accessible, fashionable, fast fashion with an

aesthetic appeal.

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Definition Of Terms

Mitumba- Second hand clothing that has been donated from

wealthy countries.

COD (Chemical Oxygen Demand)- It is a test performed to

measure the number of organic compounds in water. Mostly used

to determine the amount of organic pollutants found in surface

water (e.g. lakes and rivers) or wastewater, making COD a useful

measure of water quality.

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TABLE OF CONTENTS

DECLARATION 2

DEDICATION 3

ACKNOWLEDGEMENTS 4

ABSTRACT 5

CHAPTER 1 11

1. INTRODUCTION OF THE STUDY 11

1.1 INTRODUCTION 11

1.2 BACKGROUND OF STUDY 12

1.3 STATEMENT OF PROBLEM 14

1.4 OBJECTIVE OF STUDY 15

1.5 RESEARCH QUESTIONS 15

1.6 SIGNIFICANCE OF THE STUDY 16

1.7 LIMITATIONS OF THE STUDY 16

1.8 SCOPE OF THE STUDY 19

1.8.1 GEOGRAPHICAL 19

2.2.4 THE MIDDLE CLASS IN AFRICA 24

2.2.5 ASPIRATIONAL MARKETING 26

2.2.6 UPCYCLING AS A WASTE REDUCTION TECHNIQUE 28

2.2.6 CULTURAL APPROPRIATION 30

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2.3 THEORETICAL CONCEPTUAL FRAMEWORK 33

CHAPTER 3 35

3.0 RESEARCH DESIGN AND METHODOLOGY 35

3.1 INTRODUCTION 35

3.2 RESEARCH DESIGN 36

3.3 TARGET POPULATION 36

3.4 SAMPLE POPULATION 37

3.4.1 PURPOSIVE SAMPLING 38

3.5 DATA COLLECTION PROCEDURES 38

3.5.1 QUESTIONNAIRES 39

3.5.2 INTERVIEWS 39

3.6 DATA ANALYSIS TOOLS 40

3.7 DATA PRESENTATION METHODS 41

3.8 CONCLUSION 41

CHAPTER 4 42

4.0 INTERPRETATION OF FINDINGS 42

4.1 INTRODUCTION 42

4.2 QUANTITATIVE ANALYSIS 42

4.2.1 WHERE FASHION INSPIRATION COMES FROM 42

4.2.2 WHICH SEASONS ARE MOST CLOTHES PURCHASED 44

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4.2.3 HOW MUCH SPENT ON CLOTHING 44

4.2.4 CRITERIA ON WHICH CLOTHING IS PURCHASED 45

4.2.5 IMPORTED VS. LOCAL CLOTHING 48

4.2.6 WHY IMPORTED CLOTHING? 49

4.2.7. PURCHASING FROM LOCAL DESIGNERS 50

4.4 CONCLUSION 52

CHAPTER 5 54

5.0 SUMMARY FINDINGS, CONCLUSIONS AND RECOMMENDATIONS 54

5.1 INTRODUCTION 54

5.2 SUMMARY OF DATA ANALYSIS 54

5.3 RECOMMENDATIONS 56

5.4 CONCLUSIONS 57

5.5 SUGGESTIONS FOR FURTHER STUDY 57

REFERENCES 59

APPENDIX A 64

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Chapter 1

1. Introduction Of The Study

1.1 Introduction

Fashion. Unethical. Those two words have been considered

synonymous because of the trail of destruction that the fashion

industry leaves in its wake. Whether it is on the front end or on the

back end, fashion tends to harm the individuals who produce the

garments that are so popular around the world. It has become a

global issue, and there is a global conversation on how fashion

needs to re-focus its supply chain management. This study is

inspired by a number of those ethical issues that the fashion

industry has created as a result of very high demand. Also, the

study is inspired by the need for a new method of doing fashion

that is accessible, fashionable and ethical, as the norm is that one

out of these three variables has to be out of the equation for any

fashion item.

This chapter aims to explain the background of the study and

highlight the issues that the fashion industry has both in the global

and the local landscape so as to define the problem and to highlight

the necessity of this particular study not only for the local fashion

industry but also for the African fashion industry at large. It will

also include the pertinent research questions on which the

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researcher will build the foundation of the study, which is

discovering the needs of the Kenyan Middle Class consumer and

how best one can create a collection that will be ethically produced

and with as little harm on the environment as possible, through use

of upcycling.

1.2 Background of Study

Globally, the fashion industry is infamous for the number of

ethical issues that results in the destruction of the environment and

the lives of the people involved as a result of cheap, fast fashion,

both on the front and the back end. On the front end, there are

unethical marketing methods that create and propagate an idealized

image of the human body, which in return results in large numbers

of people having eating disorders to maintain that image. Also,

major fashion brands create an unhealthy demand for clothing

through advertising and relatively short production cycles of

clothing. On the back end, the fashion industry wastes a lot of

water producing fabric and also in the processing of clothing, not

to mention that some of the factories that produce a large number

of the clothing use unethical means to acquire labour. People work

in deplorable conditions to make these garments, and this has led

to some tragedies such as the collapse of the Rana Plaza in

Bangladesh.

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Another unethical issue in the fashion industry is cultural

appropriation, where designers exploit cultural artifacts, symbols,

attire or an aesthetic from a certain community for economic gain,

to the detriment of the communities that are being appropriated.

For example, in recent times, a French fashion designer Isabel

Marant came under fire for creating clothing that was inspired by a

community in Mexico through use of graphical prints that were the

heritage of that particular community, and the clothing was being

sold at prices that that particular community could not access and

the community was not benefitting from the sale of their creative

artifacts (Larsson, 2015). This problem hits close to home as many

designers have derived inspiration from certain tribes in Kenya and

in Africa at large, however, these communities do not benefit in

any way in the sale of their cultural intellectual property.

The Kenyan fashion industry is fraught with a number of

challenges as well, pertinent of which is the demand and

consumption of Mitumba, or rather, cheap second hand clothing

imported from other countries. Even with the emerging upper

middle class in Kenya, their tastes are more inclined to

international brands than local ones. There is a rush for

international brands that want to invest in Kenyan because of the

middle class’ spending ability. The Kenyan middle class is

exposed to global tastes through travel (Herbling, 2013).

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This support for global brands is somewhat detrimental to the

fashion industry, as there are brands that fit with the quality and

the price points accessible even to the lower middle class.

1.3 Statement of Problem

The middle class, who has a greater purchasing power, will tend to

gravitate more towards imported clothing and mitumba clothing

than buying local brands. Even the emerging upper middle class

with a higher purchasing power and greater financial access to

quality, locally made clothing oft prefer clothing that is imported.

Their tastes are global and their loyalty to global brands is strong.

Also, cheaply imported new clothing may have been unethically

produced through exploitation of human capital, with a lot of

wasted resources before reaching a final product. The researcher

will attempt to design a collection that will resonate with the

middle class’ aspirational tastes, though using socially equitable

means and upcycling with as minimal waste as possible.

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1.4 Objective of Study

The researcher aims to determine how to design a collection that

the Kenyan Middle Class individual would resonate with and

support, while also benefitting local communities and utilizing

upcycling as a method of waste reduction in the fashion industry.

1.5 Research Questions

What needs does the Kenyan middle class have that

international brands are satisfying?

How can we make wearable, ethically made and accessible

clothing locally for the growing middle class in Kenya?

How can we salvage brass from the waste stream to create

wearable clothing?

How can we do this in a way that resonates with the middle

class’ growing tastes and needs?

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1.6 Significance of the Study

This study will help create the basis for a new market in the

international fashion industry- ethical fast fashion. This study will

also be a clue in to the vast potential that the middle class in Kenya

has to sustain the fashion industry in Kenya. If the study proves to

be successful, the model could be replicated in other African

countries similar to Kenya in regards to their positioning, thus

creating a powerful industry with ethical productions as its basis.

1.7 Limitations of the Study

This study is limited in areas such as;-

Lack of available and/or reliable data -- a lack of data or of

reliable data will likely require the researcher to limit the

scope of your analysis, the size of the sample, or it can be a

significant obstacle in finding a trend and a meaningful

relationship.

Sample size – For this research, sample size is a limitation as

the target population is too small a group to represent the

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tastes of the masses that the study aims to study. Also, the

sample size may have too small to draw meaningful data that

may represent the mass market.

Lack of prior research studies on the topic - citing prior

research studies forms the basis of a lot of the literature

review and helps lay a foundation for understanding the

research problem the researcher is investigating. In regards to

this research, there was very little background research on

this particular topic that is academically viable and tailored to

the African economy and African history. This research will

hopefully become the basis for more research in the

future. opportunity to describe the need for further research.

Measure used to collect the data – in some cases, after

completing the research in the interpretation of the findings;

the researcher discovers that the way in which they gathered

data inhibited their ability to conduct a thorough analysis of

the results. For example, the researcher may regret not

including a specific question in a survey that, in retrospect,

could have helped address a particular issue that emerged

later in the study.

Self-reported data -- self-reported data is limited by the fact

that it rarely can be independently verified. In other words,

the researcher has to take what people say, whether in

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interviews, focus groups, or on questionnaires, at face value.

Self-reported data can contain several potential sources of

bias. These biases become apparent if they are incongruent

with data from other sources. These are:

(1) selective memory [remembering or not remembering

experiences or events that occurred at some point in the past]

(2)telescoping [recalling events that occurred at one time as

if they occurred at another time];

(3) attribution [the act of attributing positive events and

outcomes to one's own agency but attributing negative events

and outcomes to external forces],

(4) exaggeration [the act of representing outcomes or

embellishing events as more significant than is actually

suggested from other data].

Time- The researcher did not have adequate time to conduct

the research in a manner that would adequately capture the

variables in the study. There may be certain factors that are

only affected by time that the researcher may not find out as

the time is not adequate.

Geography- The research is restricted to a certain location,

therefore making the research only viable for people living in

that particular location, which in this case, is Nairobi. It may

not indicate the opinions of people who live in other

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locations such as Mombasa or Kisumu, thus it is not

indicative of the true middle class in all of Kenya.

1.8 Scope of the Study

1.8.1 Geographical

The research will be based in the suburbs of Nairobi, namely

Ngummo, Karen, Kilimani, South ‘C’, South ‘B’ and Lang’ata.

1.8.2 Concept/ context

The study will mainly concentrate on the application of upcycling

and use of local communities for the production of ethical

wearable clothing that will cater to the needs of the Kenyan middle

class, to which the said middle class will aspire to purchase.

1.8.3 Content

The researcher will draw inspiration from Nairobi and apply its

history and geography in the execution of the resultant collection,

through use of brass embellishments, Maasai beading done by

Maasai women and prints inspired by the cartography of Nairobi.

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1.9 Conclusion/ Summary

The researcher has highlighted the importance of this study to the

African fashion industry. The researcher has also outlined the

research questions and the objectives of the study in regards to the

project and its execution.

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Chapter 2

2.0 Literature Review

2.1 Introduction

According to Baglione (2012), literature review is a text of a

scholarly paper, which includes the current knowledge including

substantive findings, as well as theoretical and methodological

contributions to a particular topic. In this chapter, the researcher

will review information on the factors influencing the study from

previous articles, studies, academic reports and environmental

reports from various sources.

2.2 Review of Theoretical Literature

2.2.1 Financial and Biographical Information About the Global

Fashion Industry

The global fashion industry is growing. Currently it employs about

60-75 million people globally, when only just in the year 2000

there were about 20 million people employed in the fashion

industry. It is currently the second highest employer in the world,

after the oil industry. The global womenswear industry is worth

621 billion USD, and the menswear industry is worth 402 billion

USD. The total worth of the global fashion industry is 1.781

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trillion USD, that is, including children’s clothing and footwear.

China, India, Bangladesh, Turkey and Vietnam are the global

leaders in developing countries. The EU and the US are the top

garment importing countries in the world. Panama, Samoa, Mali,

Burundi and Ethiopia are the top garment producing countries as

emerging markets (ILO, 2010).

2.2.2 Waste In The Fashion Industry

Millions of tons of unused fabric at mills go to waste each year

when dyed the wrong color. The Chinese textile industry, which

produces about half the clothing Americans buy, creates about 3

billion tons of soot each year. A single mill can use 200 tons of

water for each ton of fabric it dyes. (Natural Resources Defence

Council, 2011)

In 2010, the textile industry discharged 2.455 billion tons of

wastewater, which was the third highest of the 39 major industries

in China and accounted for 11.6% of total wastewater discharged

in the industrial sector. The textile industry discharges about

300,600 tons of COD and contributes to 8.2% of COD pollution in

China. Ammonia emissions from the textile industry total 17,400

tons, accounting for 7.1% of ammonia emissions in China’s key

industries. It should also be noted that the number of factories

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included in the China Statistical Yearbook is far fewer than the

actual number of textile factories in China. In 2007, during the first

National Pollution Source Survey, the number of textile factories

surveyed was 107,673, which only accounts for 6.83% of the total

number of factories. The textile industry emits 1.296 million tons

of COD (calculated at the discharge outlet from factory areas),

which ranks 2nd among the industries and accounts for 18.11% of

total COD emissions. The ammonia emissions (calculated at the

discharge outlet from factory areas) from the textile industry total

16,000 tons, which ranks 5th among the industries and accounts for

5.27% of total ammonia emissions. (Environmental Protection

Commonwealth Association, 2012)

2.2.3 Mitumba Clothing in Kenya

Kenyans import about 100,000 tons of mitumba clothing annually,

and it employs about 65,000 people annually (Reuters). 78% of

Kenyans shop for second hand clothing (Ipsos 2013), thus giving

Mitumba the lion’s share in the Kenyan fashion industry. Out of

this number, 64% buy both mitumba and new clothing. Within this

group of people, a 65% of people do not buy local brands (Ipsos

2013), thus leading to the idea that many Kenyans prefer imported

clothing and second hand clothing over locally made clothing even

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though there are brands locally that are affordable.

While it is arguable to say that the reason why Mitumba has such a

stronghold on Kenyan fashion because of its relatively low price

points, it is important to note that the middle class, who have a

greater spending power will tend to gravitate more towards

imported clothing and mitumba clothing than buying local brands.

Even the emerging upper middle class with a higher purchasing

power and greater financial access to quality, locally made clothing

oft prefer clothing that is imported. Their tastes are much global

and their loyalty to global brands is stronger than it is for local

brands. A relatively insignificant number of people (35%) made

purchases that support local brands, but their numbers are not

enough to build an industry that would be an African fashion

powerhouse.

2.2.4 The Middle Class In Africa

The middle class is often described as innovators, carriers of new

political and social values as well as a driving economic force, and

hence, change‐makers in a social arena. In contrast to many other

African countries, Kenya has a significant middle‐class

population, which has grown in importance and size since then.

Today, it is estimated that about 40% of the Kenyan population

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have escaped poverty and 17 % belong to the middle class (African

Development Bank 2011). However, the term middle class

comprises groups with a large variety of lifestyles, interests, and

consumer behavior (Kroeker 2014).

According to the African Development Bank, the middle class is

divided into three strata: $2‐4 is the floating class, $4‐10 the

lower‐middle class, and $10‐20 the upper‐middle class.

According to the Kenya National Bureau of Statistics, the middle

class is defined as anyone spending between Ksh 23,670.00 and

Ksh 199,999.00 per month.

A study on the Black Middle Class in South Africa led to the

following results in terms of the criteria- Only black adults were

sampled and they met at least three of the four following

requirements: They had acquired a form of tertiary education, they

owned at least one car and worked at white collar jobs or owned

businesses. Annual household income was between 1300-4600

USD. Another finding was that the Black Middle Class in South

Africa were driven by their aspirations and consumer products for

convenience and entertainment. Even so, their lifestyles were built

on accessible credit. (Burger 2013)

A study conducted on the people in Soweto revealed that the

people who believed they were middle class did not have the

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qualities that are classically understood to be middle class, such as

being in management, or more specifically being middle class in

Soweto (such as being a teacher or a nurse). These people were

mildly more likely to call themselves ‘Happy, aspirational and

free.’

2.2.5 Aspirational Marketing

Aspirational brand strategy is concerned with creating the dream

and generating positive emotional reaction from consumers.

An aspirational brand strategy tries to fit a product into consumer

attitudes and emotions so that they will identify with the product.

Aspirational brand strategy is based on the premise that emotions

play an important role in our purchase decision-making and that

rationality in purchase decision-making is fallacy (Hunter, 2012).

Customer loyalty is built up by creating stories about the product

rather than relying on product features to see the product. The

effect is to differentiate a product or service through emotions. No

real claims are made through this strategy, as it aims to win hearts

rather than minds and is used powerfully in the fragrance, cosmetic

and personal care markets.

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When a consumer is considering a personally relevant advertising

message for a high involvement product, they can experience a

strong emotional reaction to the advertising appeal. These

emotional reactions can create very strong loyalties. (Hoyer and

MacInnis 2007)

Positive emotional appeals might include love, desire, hope, joy, or

excitement. Positive emotional appeals can directly improve

attitudes by generating positive feelings, which improves the

consumers’ attitudes. Negative emotional appeals include guilt,

fear, anger, or shame. Negative emotional appeals can yield

positive changes in attitudes by motivating consumers to act to

reduce or avoid the negative emotions. Once action is taken, the

consumer feels better (Aaker, Stayman, Hagerty 1986).

Many of these same factors are operating to increase production.

2.2.6 Local Communities

Administrations in many countries have realized that craft

production can be a way out of poverty, that it can create self-

sustaining local growth, and that it can help empower

disadvantaged communities, especially minorities. Survey

evidence from Asia suggests that the earnings of craftspeople can

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be as much as four times that of otherwise similar members of their

local community. (Ellis, 2014)

Supply chains, from obtaining raw materials, to marketing finished

products are not systematically documented. Artisans may produce

quality products, but they are not supplied or marketed effectively.

(Ellis, 2014)

Consumers are looking for unique items that come from an ethical

background to meet their esteem needs. The consumer today is

looking for a fulfilling consumption experience. (Hunter, 2012)

2.2.7 Upcycling as a Waste Reduction Technique

Upcycling is often considered as a process in which waste

materials are converted into something of higher value and/or

quality in their second life. It has been increasingly recognized as a

promising means to reduce material and energy use.

The Dictionary of Sustainable Management (2014) defines it as

“the process of converting an industrial nutrient (material) into

something of similar or greater value in its second life.”

Many authors generally agree that upcycling provides reductions in

environmental impact or contributes to a higher environmental

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value or performance of products (Mats Eklund and Martin

Michael, 2011), (Vilas Gapnat 2010).

Braungart and McDonough say that industrial upcycling reduces

progression ‘from cradle to grave’ by reusing materials in safe,

perpetual cycles, which therefore eliminates the concept of waste

and reduces toxic materials in biosphere.

At the product level, Szaky (2014) sees object upcycling as one of

the most sustainable circular solutions in the waste system,

positioned between reuse and recycling, since upcycling usually

requires little energy input and can eliminate the need for a new

product.

Brass is the generic term for a range of copper-zinc alloys with

differing combinations of properties, including strength,

machinability, ductility, wear-resistance, hardness, colour,

antimicrobial, electrical and thermal conductivity, and corrosion

resistance.

Brasses set the standard by which the machinability of other

materials is judged and are also available in a very wide variety of

product forms and sizes to allow minimum machining to finished

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dimensions. Brass does not become brittle at low temperatures

like mild steel.

Brass also has excellent thermal conductivity, making it a first

choice for heat exchangers (radiators). Its electrical conductivity

ranges from 23 to 44% that of pure copper. (Copper Alliance,

1992)

2.2.8 Cultural Appropriation

The Bodowin University student government defined cultural

appropriation as “a power dynamic in which [1] members of a

dominant culture take elements from a culture of people who have

been systematically oppressed by that dominant group, [2]

perpetuates racist stereotypes, and/or [3] misrepresents a peoples

culture.” (Bodowin, 2015)

Cultural appropriation is the adoption or use of elements of one

culture by members of a different culture, often done to a minority

group by a majority group (Young, 2010).

Cultural appropriation is oftentimes controversial, as the use of

elements of a minority culture by a cultural majority are often seen

as wrongfully oppressing the minority culture or stripping it of its

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group identity or intellectual property rights. This view of cultural

appropriation is sometimes termed "cultural misappropriation."

According to proponents of the concept, cultural misappropriation

differs from acculturation or assimilation in that the

"appropriation" or "misappropriation" refers to the adoption of

these cultural elements in a colonial manner: elements are copied

from a minority culture by members of the dominant culture, and

these elements are used outside of their original cultural context—

sometimes even against the expressed, stated wishes of

representatives of the originating culture. This is often seen in

cultural outsiders' use of an oppressed culture's symbols or other

cultural elements, such as music, dance, spiritual ceremonies,

modes of dress, speech and social behaviour, among other cultural

expressions, notably when these elements are trivialized and used

for fashion, rather than respected within their original cultural

context.

When this is done, the imitator, "who does not experience that

oppression is able to 'play,' temporarily, an 'exotic' other, without

experiencing any of the daily discriminations faced by other

cultures." (Kjersten, 2011)

Cultural appropriation can involve the use of ideas, symbols and

artifacts, or other aspects of human-made visual or non-visual

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culture. Anthropologists study the various processes of cultural

borrowing, "appropriation", and cultural exchange (which includes

art and urbanism), as part of cultural evolution and contact

between different cultures.

As a concept that is controversial in its applications, the propriety

of cultural appropriation has been the subject of much debate.

Opponents of cultural appropriation view many instances as

wrongful misappropriation when the subject culture is a minority

culture or is subordinated in social, political, economic, or military

status to the dominant culture or when there are other issues

involved, such as a history of ethnic or racial conflict. This is often

seen in cultural outsiders' use of an oppressed culture's symbols or

other cultural elements, such as music, dance, spiritual ceremonies,

modes of dress, speech and social behaviour, among other cultural

expressions, notably when these elements are trivialized and used

for fashion, rather than respected within their original cultural

context. Opponents view the issues of colonialism, context, and the

difference between appropriation and mutual exchange as central

to analyzing cultural appropriation. They argue that mutual

exchange happens on an "even playing field," whereas

appropriation involves pieces of an oppressed culture being taken

out of context by a people who have historically oppressed those

they are taking from, and who lack the cultural context to properly

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understand, respect, or utilize these elements.

Proponents view cultural borrowing as inevitable and a

contribution to diversity and free expression. This view

distinguishes outright cultural theft or exotic stereotyping from

more benign borrowing or appreciation. Cultural borrowing and

cross-fertilization is seen by proponents as a generally positive

thing, and as something which is usually done out of admiration of

(and with no intent to harm) the cultures being imitated. The

language of "appropriation" is sometimes criticized as

misleadingly implying "theft" when applied to culture, which is not

generally seen as an exhaustible resource.

2.3 Theoretical Conceptual Framework

Mugenda and Mugenda (2003) define conceptual framework as a

hypothesized model of identified concepts under study and their

relationships. This study aimed at finding out how the Kenyan

Middle Class can become interested and engaged in Kenyan

fashion, and how Kenyan fashion can be done in a sustainable

manner where there is less harm to the environment and the local

communities benefit from their creative trade.

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Chapter 3

3.0 Research Design and Methodology

3.1 Introduction

Research methodology is a way to systematically solve the

research problem. It may be understood as a science of studying

how research is done scientifically. In it we study the various steps

that are generally adopted by a researcher in studying his research

problem along with the logic behind them. It is necessary for the

research to know not only research methods but also the

methodology. One preliminary consideration before designing a

proposal is to identify a framework for the study.

When philosophy, strategies, and methods are combined they

provide different frameworks for conducting research. The choice

of which approach to use is based on the research problem,

personal experiences, and the audiences for whom one seeks to

write.

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For the purpose of this research, an integration of social

constructivism and pragmatism knowledge claims with a mainly

qualitative approach will be used.

However, quantitative methods of data collection will be used

through questionnaires and interviewing of members of the

population sample. Data analysis will be extruded and from it we

learn more about the site and as the fieldwork progresses, the

researcher constantly refines ideas and solutions of what may be

done to improve the sites conditions.

3.2 Research Design

This study used the ex post facto descriptive design. Descriptive

designs determine the relationship between one thing (the

independent variable) and another (the dependent variable) in a

population. They answer questions of what, how and why

something happened (Hopkins, 2008). Descriptive designs also

describe the statistical association between two or more variables

without manipulating them.

3.3 Target Population

Best and Kahn (2004) define target population as a group of

37

individuals with one or more characteristics of interest to a

researcher. This is the larger population to whom the research

study results are to be generalized (Burke & Larry, 2000). In this

scenario, the target population is the Kenyan Middle Class society

between age 20-45 who spend between kshs 30,000 and 199,990.

However, due to the limitations of the study such as time, money

and geographical constraints, it is not possible to use the said target

population.

3.4 Sample Population

A sample is a smaller group attained from the accessible

population (Mugenda & Mugenda 2004). Sampling is the process

of selecting units from a population of interest so that by studying

the sample we may fairly generalize our results back to the

population from which they were chosen. (Trochim: 2006).The

researcher will sample women and men from the Kenyan middle

class aged between 23-39, earning between kshs 50,000 and

199,990, or rather, who spend between that amount each month.

Since the population is quite large, sampling is necessary. The

researcher will use purposive sampling.

38

3.4.1 Purposive Sampling

Purposive sampling is a form of non-probability sampling in which

decisions concerning the individuals to be included in the sample

are taken by the researcher, based upon a variety of criteria which

may include specialist knowledge of the research issue, or capacity

and willingness to participate in the research (Oliver, 2006). The

group targeted within this study was the group most accessible to

the researcher within the limitations of the research; Kenyan

Middle Class women in media and arts oriented careers.

3.5 Data Collection Procedures

In dealing with any real life problem it is often found that data at

hand are inadequate, and hence, it becomes necessary to collect

data that is appropriate. There are several ways of collecting the

appropriate data, which differ considerably in context of money

costs, time and other resources at the disposal of the researcher.

Data involve all the information the researcher collects during his

research. Techniques for collecting data are used within the

framework of certain methods. This may regard data that is

deliberately generated (e.g., answer scores of a questionnaire) or

data that already existed (collecting a company’s annual reports for

39

the last 3 years). Data can be classified based on its nature. Data

are considered to be ‘raw’ information, usually in the form of facts

or statistics that can be analyzed, or that can be used to do further

calculation (Collins Cobuild Dictionary 1987, p. 357). Or: facts

(attitudes, behavior, motivations, etc.) collected from respondents

or observations (mechanical or direct) plus published information

(Cooper and Schindler 2008, p. 82)

3.5.1 Questionnaires

A questionnaire developed by the researcher was used to get the

required information from the aforementioned sample group,

which is the Kenyan Middle Class earning between the said

amounts of money. They were working professionals within the

arts and media industry, as within the limits of the study. The

questionnaire included structured, closed ended questions that were

meant to elicit responses that were able to be divided into several

categories.

3.5.2 Interviews

Interviews are one-on-one question-and-answer sessions where the

40

researcher may use a variety of techniques in asking the questions

and documenting the answers. In this case, the researcher will use

semi-structured interviews to collect data, using the questionnaire

as a guide for the interview so as to gain more insight on the

reasons as to why the respondents chose the particular answer on

the questionnaire, while also building up on the information on the

questionnaire.

3.6 Data Analysis Tools

Data analysis consists of “examining, categorizing, tabulating,

testing, or otherwise recombining both quantitative and qualitative

evidence to address the initial propositions of a study”. (Yin:

2003). The data collected needs to be analysed to obtain results.

For quantitative data, statistical methods will be employed to

analyse the data. The researcher through reading and reviewing

data analyzed the data collected through interviews, then notes

were written.. The researcher coded data collected through

interviews. This coding included identifying themes within the

interview notes that relate to the research questions in the study.

These themes were the common ideas that will be repeatedly read

in the data that was collected. The responses on the interview were

compared to the data collected on the questionnaires, and the gaps

41

in information were filled through this comparison as differences

were recognizable through use of logical analysis.

3.7 Data Presentation Methods

Most of the data is presented in the form of pie charts and graphs

with a brief narrative analysis of the data in a manner that will

highlight the variables throughout the data collection process.

Information that has been collected during the study has been

presented in form of a written research report. The site analysis and

recommendations have also been included further. The researcher

has also handed in a soft copy in compact disc of the report.

3.8 Conclusion

In this chapter, the researcher managed to outline the process of

data collection, the method of data analysis and representation, and

the tools that will be used in the building up of the research.

42

Chapter 4

4.0 Interpretation of Findings

4.1 Introduction

In this chapter, the data will be analysed and presented in a

qualitative manner, through description and photography, and

through quantitative means- through graphs and pie charts.

4.2 Quantitative Analysis

There were 20 questionnaires given out. Out of those, 15 were

returned for analysis. Therefore, the return rate was 75%. The

respondents were divided amongst 3 men and 12 women.

Therefore 20% of the respondents are men and 80% were women.

4.2.1 Where Fashion inspiration comes from

This question was asked specifically so that the researcher could

know where the middle class derives their fashion inspiration from.

The result of this finding would help greatly in determining the

avenues through which local designers should market their

products, while also finding out whether or not where the Kenyan

Middle Class finds its inspiration is local or international.

43

All the respondents who found their inspiration from social media

and fashion magazines get both local and international inspiration

from these avenues, in that they followed both international

fashion blogs and fashion brands on social media and on the

internet, while the ones who bought magazines bought both

international fashion magazines and local fashion magazines,

therefore debunking the hypothesis that the Kenyan middle class

find all their inspiration for clothing exclusively from foreign

brands, or rather, aspire to foreign brands.

fashion magazines33%

styles in store15%social media

18%

celebrities4%

people in my locality15%

family/friends11%

other4%

Where Fashion Inspiration Comes From

44

4.2.2 Which Seasons Are Most Clothes Purchased

Knowing which season is most profitable would be considered

important so as to know what times the Kenyan middle class needs

to go on to.

4.2.3 How Much Spent On Clothing

This question was asked so as to determine how much the middle

class tends to spend on clothing each month, therefore determining

at which price point the fashion designers in Kenya need to keep

Hot/Dry Season40%

Cold season40%

rainy season13%

I don't know

7%

No difference0%

Which Seasons Are Most Clothes Purchased?

45

their products in in order to be accessible to the greater market.

The data came up as follows:

73% Of the Kenyan Middle Class according to the sample size

spend between Kshs 3,100.00 and 5,000.00, which is more of a

mid-range price point than it is a high end price point.

4.2.4 Criteria On Which Clothing Is Purchased

This question was asked so as to determine under which standard

the clothing is bought. This would also help determine what makes

3,100-500073%

5100-700020%

7,000-90007%

How Much Spent On Clothing

46

consumers go back to a certain brand or a certain shop as the

companies that produce products that match a combination of

criteria, then the Kenyan Middle Class may become a repeat

customer. It is also interesting to note that on the questionnaire,

one of the available options on criteria was ethical/organic, and

none of the respondents chose that option, meaning that the

ethicality of a product is not at all an priority according to the

sample group. Upon further inquiry by the researcher, it appeared

to be that the Kenyan Middle Class is generally indifferent to the

state of the global fashion industry because they are unaware of the

damage the fashion industry has on the environment and the people

who are harmed in the production of clothing. Also, people do not

feel obliged to buy something because it is ethical as it is, simply,

not a necessity, as they do not directly benefit from the purchase of

ethical clothing.

According the pie-chart above, it appears that quality and price are

the greatest criterion according to Kenyan Middle Class. Brand is

not necessarily a major factor in determining loyalty to a particular

brand.

47

Quality38%

Price33%

Brand12%

Style14%

Colour3%

Criteria On Which Clothing Is Purchased

48

4.2.5 Imported Vs. Local Clothing

This is question was asked to help establish what the Kenyan

Middle Class purchases mostly. It is important to note that

imported clothing in this question was specified as foreign

branded, new clothing that was not restricted to brand names in the

malls, but also included exhibition stalls and other smaller

boutiques that sell imported clothing.

Only Imported Clothing

53%

Both Imported and Local

47%

Imported Vs. Local Clothing

49

4.2.6 Why Imported Clothing?

The researcher asked why the respondents who purchase only

imported clothing chose to do so. This was to help establish what

needs these brands satisfy that what locally designed and available

clothing did not satisfy.

Quality21%

Greater Variety29%

Clothes that fit my particular style

29%

Bigger Brand14%

Value for Money

7%

Only Imported-Why?

50

According to this particular group of people, variety, style and

quality are the driving factors to their exclusive purchase of

imported clothing.

It is important to note that most the respondents who made this

choice travel abroad frequently, or have access to people who

travel abroad frequently. This choice is therefore informed by their

refined tastes and access to world-class products.

4.2.7. Purchasing From Local Designers

When asked whether or not the respondents have ever purchased

clothing from local designers, 87% mentioned that they had

purchased from local designers, meaning that 13% had not yet

made any purchases from local designers.

When asked why, all the respondents mentioned that they believed

that local designers are priced outside of their range, meaning that

they believed that local designers are unaffordable. It is important

to note that the respondents who chose that they buy both local and

international clothing were asked this question.

51

4.2.8 Recommendations Respondents had Towards Local

Designers

This particular question was open ended. However, most of the

respondents had a variety or responses, many of which were able

to be categorized in the following ways:

Yes87%

No13%

Ever Purchased Clothing From Designers?

52

1. Price

2. Creating more brand awareness

3. Style/Fashion

4. Variety within the context of African Print (Or Lack thereof)

5. Quality.

One respondent mentioned that African designers need to look to

Africa for inspiration.

4.4 Conclusion

In this chapter, the researcher has managed to quantitatively

express the needs of the Kenyan Middle Class buyer, while also

0

2

4

6

8

10

12

14

More Marketing Trendy Affordable Variety OtherThan African

Print

Quality

Series1

53

backing up the information with more relevant information on the

findings from interviews with the respondents.

54

Chapter 5

5.0 Summary Findings, Conclusions and Recommendations

5.1 Introduction

In this chapter, the researcher will interpret the data to come up

with conclusions that are drawn from the

5.2 Summary of Data Analysis

The researcher found that a large number of the Kenyan middle

class do not purchase clothing from international brands just

because they are international brands, but because they provide

quality and price, which translates to value for their money, as they

to not have a lot of disposable income to spend on clothing that

would not last them for some time. Also, the researcher found that

the Kenyan Middle Class to not aspire to be Westernized in their

style, but only aspire to be trendy and through western media trend

is dictated, therefore making it inevitable that they will follow

international press and social media so as to keep abreast with the

latest trends and styles.

Price is another key factor for the Kenyan middle class as they tend

to prefer clothing items and accessories that are more accessible to

them in their price points, and according to the findings, kshs

55

3,100-7,000 are the more accessible price points for the Middle

Class consumer.

Another factor that is quite interesting about the Kenyan Middle

Class is their indifference to whether or not a product is ethically

produced. It is not at all a factor for the Kenyan consumer. The

researcher mentioned this phenomenon to one respondent and the

responded explained that she believed that ethically produced

products may not be an issue to the local middle class because the

Kenyan Middle Class are not yet educated enough about the

unethical issues that take place in the fashion industry thus making

then unaware of the potential harm the indifference might be

causing. Also, ethical goods tend to be highly priced if they are

trendy and if they are not highly priced they are of low quality or

possess a crafty quality that does not have the sheen of a new

product.

The Kenyan Middle Class also lacks awareness of local brands

because of little marketing on the part of local designers.

Another key finding was that Kenyans buy clothing because of

uniqueness and personal aesthetic. The Kenyan consumer has a

personalized way of dressing that they stick to whenever

purchasing clothing.

56

5.3 Recommendations

From the study, the researcher could recommend the following:

1. That fashion brands put in more effort in marketing their

brands.

2. That local fashion brands may create clothing that is trendy,

of high quality and great variety in order to engage the

middle class.

3. That the clothing items stay under Kshs. 7,000.00 so that they

may be accessible to the Middle Class.

4. That the clothing designed may feature international trends

done with a local twist. The solution could be contemporary

fashion.

5. Outsource mass production of clothing to local tailors so as

to keep the profits within the local communities

6. Uniqueness is key. The respondents were keen to mention

that a key criteria was clothing that fit their style, therefore

there should be limited pieces of a particular item of clothing

or accessory during production.

7. Use local artisans to melt scrap brass into embellishments

that are fashionable and aligned with the global jewelry

trends.

8. Use local Maasai communities to do embellishments for the

collection. This ensures that the craft remains within the

57

community and that the profit remains within their

community and they benefit from the trade of their

intellectual property.

5.4 Conclusions

The research yielded different information than was expected. The

initial expectation of the researcher was that the main reason as to

why the Kenyan Middle Class does not support local fashion was

that the Middle Class was westernized, therefore making it difficult

for Kenyan fashion designers to penetrate the local market, when

the case is that there is generally a lack of knowledge on Kenyan

fashion and that the clothing made by Kenyan designers is

generally inaccessible to the Kenyan Middle Class. This study has

gained some important insight on the needs that the Kenyan middle

class have that local designers are not yet fulfilling. This

information may go a long way in setting the basis for a new

market in Kenya, where mass market goods are made ethically

with the needs of the middle class consumer in mind.

5.5 Suggestions for Further Study

Information that will be key in expanding this particular study

would be:

58

1. The spending potential of the Kenyan middle class on

fashion, thus determining the value of the Kenyan middle

class’ impact on the Kenyan fashion industry.

2. Defining what is the Aspiration for the Kenyan Middle Class-

what it is that they consider aspirational and what images

they see as the best version of themselves.

3. How to effectively phase out the use of mitumba in Kenya as

it is a stumbling block to Kenyan fashion.

59

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Appendix A

QUESTIONNAIRE

Thank you for taking time to fill in this questionnaire. The

questionnaire being filled is for a research purpose which is being

carried out by a Fourth year Design student at the University of

Nairobi, school of the Arts and Design. The information given will

only be used for academic purposes by the researcher. Your

confidential information will be handled with utmost care and

privacy.

Where do you usually take new inspiration for clothing?

Friends

Family

Celebrities

People in my locality

Magazines

Fashion Magazines

Styles in store

Social Media

Other, Please specify

How often do you purchase new clothing items or accessories?

(Accessories being shoes, bags, jewelry etc.)

1-5 times a year

5-10 times a year

once a month

2-3 times a month

4-7 times a month

8+ times a month

Which season do you mostly spend most on?

Cold reason

Rainy season

65

Hot/dry season

I don’t know

No difference

How much do you usually spend on clothing and accessories

each month?

Less than 1000

1,100-3,000

3,100- 5,000

5,100- 7,000

7,000- 9,000

9,000- 12,000

12,000-15,000

15,000-20,000

20,000+

What 2 main criteria do you have when buying clothing?

Quality

Price

Comfort

Style

Color

Material

Organic/Fair Trade

Brand

Practicality/Functionality

Do you plan your purchases or are the more spur of the

moment?

Planned

Spur of the moment

Either

Neither. (if so, specify)

Have you ever purchased clothing from a local designer?

Yes

66

No

If not, why?

The clothing is tacky/not of good taste

Lack of information about local designers

The quality is not good

They are not readily available

They are not attractive

They are for rich people

Do you purchase imported clothing?

Yes

No

I purchase both imported and locally made clothing

If yes, why? (pick 2 reasons that you agree with most)

The quality is much better

The value for money is much better i.e I get what I pay for

Greater variety

I can get clothes that fit my particular style

Bigger brand names

What changes would you recommend to the fashion industry in

Kenya? (This is an open-ended question. Feel free to give a variety

of reasons).