Contextualised Fashion Design Curriculum and Pedagogy in Ghana; Contributions to Decolonisation

This thesis investigates the theoretical underpinnings of Fashion Design curricula and examines its application within the specific cultural contexts of Ghana, West Africa. Engaging with post-colonial educational frameworks, the study aims to develop a contextualised curriculum that reconciles local differences while embracing global imperatives (Gramsci, 1971). The research argues that this process is best achieved through practices of co-creation between tutors, students, and methodological frameworks, thereby contributing to the broader decolonisation discourse within tertiary Creative Education.

Fashion education represents a compelling ambition for many young people in developing countries. This thesis examines the appropriateness of this ambition, considering the specific context and determinants prevailing in the lives and experiences of young people in West Africa who aspire to study and work in the field of fashion. The research draws on extended practice from 2011 to 2018, during which I held the position of head of the Fashion Design programme at Radford University Ghana, providing a unique insider perspective on the cultural specificities of teaching Fashion Design in Ghana.

The existing literature on the decolonisation of fashion education in Ghana primarily focuses on historical documentation, such as Essel's (2019) research on Ghana's fashion vocational education history. However, there exists a significant gap in research examining the current model of Westernised colonial tertiary fashion curriculum and evaluating its implications for learners in Ghana. This gap is particularly notable given the context in which Ghanaian students are situated, where the prevailing curriculum, heavily influenced by Western ideologies, fails to adequately consider the unique cultural, social, and economic realities of Ghana.

The theoretical framework draws upon Gramsci's qualitative social research methodology, rooted in his Marxist analysis of hegemony and cultural power dynamics. Central to this framework is the distinction between organic intellectuals—those emerging from subaltern groups to articulate counter-hegemonic narratives—and traditional intellectuals, who perpetuate dominant ideologies through institutional roles. Gramsci's theory aligns with participatory methodologies of this research, that prioritise co-constructed knowledge between researchers and communities, offering a robust foundation for studies seeking to expose and dismantle hegemonic systems through participatory, historically grounded qualitative inquiry.

The disconnect between Western-influenced education and local needs is further exacerbated by the dominance of Western tertiary and vocational education over traditional Ghanaian apprenticeships. The lack of emphasis on local traditions and techniques embedded in the pedagogy not only undermines the preservation of Ghanaian cultural heritage but also potentially limits students' ability to innovate within their own cultural context. Through a mixed-methods approach, this study examines the needs of learners, curriculum and pedagogy, drawing on a longitudinal study conducted at Radford University Ghana to explore the colonial legacy of education and its impact on contemporary learning environments. The research proposes a contextualised model of Fashion Design higher education that addresses these critical gaps while maintaining relevance to both local and global fashion industry demands.