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DSpace Institution DSpace Repository Fashion Design (MSc) http://dspace.org Thesis and Dissertations 2019-04-27 DOCUMENTATION AND DESIGN DEVELOPMENT OF þÿ C O N T E M P O R A R Y W O M E N S COLLECTION THROUGH A STUDY AND ANALYSIS OF RAYA KOBO TRADITIONAL COSTUME http://hdl.handle.net/123456789/9306 Downloaded from DSpace Repository, DSpace Institution's institutional repository

DOCUMENTATION AND DESIGN DEVELOPMENT OF CONTEMPORARY WOMEN S COLLECTION THROUGH A STUDY AND ANALYSIS OF RAYA KOBO TRADITIONAL COSTUME SOLOMON TSEGAYE ETHIOPIAN INSTITUTE OF TEXTILE AND FASHION TECHNOLOGY BAHIR DAR UNIVERSITY JUNE 2018 ii

DOCUMENTATION AND DESIGN DEVELOPMENT OF CONTEMPORARY WOMEN S COLLECTION THROUGH A STUDY AND ANALYSIS OF RAYA KOBO TRADITIONAL COSTUME BY Solomon Tsegaye A Thesis Submitted To The Ethiopian Institute Of Textile and Fashion Technology In Partial Fulfillment of the Requirements for the Degree of Masters of Science In Fashion design Under The Supervision Of Dr. Chandra Shekar Ethiopian Institute Of Textile and Fashion Technology Bahir Dar University Bahir Dar June 2018 iii

ABSTRACT Documentation and design development of contemporary women s collection through study and analysis of Raya kobo traditional costume is a project which investigates the new trends of collection and Raya Kobo costumes documentation among ethnic groups in Ethiopia. Now a day Textile and Garment is developing industry in Ethiopia. Fashion is one of the backbones for garment industry. When we look all of state of affairs within fashion industry, Fashion costume history is the main valuable part and Different country by studding their own fashion costume history they get a lot of benefits world widely. In our country we are immerging to this big industry, yet exclusively do not have written documents concerning our traditional fashion costume. In order to launch the fashion industry in Ethiopia it should be on the bases of Ethiopian traditional cloths. Beyond this research studying all over the background, knowing current trend and develop new contemporary design collection based on the documentation, trend research and art reference to have the relevant data in order to solve and fulfill the gap. For that matter this thesis prepared prototype in north Wollow, Raya Kobo traditional cloth, jewelry and accessories. It helps to condemn the sample for the sake of establishing all over the entire Amhara Region fashion costume. Keywords: Ethiopia, Ray Kobo, Clothes, Ethnic Group, art reference, contemporary, current trend ii

APPROVAL PAGE Submitted by: Solomon Tsegaye Candidate Signature Date Approved by: Dr. Chandra Shekar Advisor Signature Date Kidist Tadesse (Lecturer) Head of apparel technology PG programs Signature Date DR.ABERA KECHI (phd) Post graduate studies and project hunting director Signature Date Addisu Ferede (ASST. PROFESSOR) EiTEX Scientific Director Signature Date iii

ADVISORS APPROVAL SHEET ETHIOPIAN INSTITUTE OF TEXTILE AND FASHION TECHNOLOGY (EITEX) POST GRADUATE OFFICE This is to certify that the thesis entitled Documentation and design development of contemporary women s collection through a study and analysis of Raya kobo traditional costume submitted in partial fulfillment of the requirements for the degree of Master's with specialization in FASHION DESIGN, the Graduate Program of the Ethiopian Institute of Textile and Fashion Technology, and has been carried out by SOLOMOM TSEAGAYE ID. No MFD/R/005/09 under my/our supervision. Therefore I/we recommend that the student has fulfilled the requirements and hence hereby can submit the thesis to the Institute. Name of major advisor Signature Date Candidate name Signature Date iv

EXAMINER S APPROVAL SHEET- I ETHIOPIAN INSTITUTE OF TEXTILE AND FASHION TECHNOLOGY (EiTEX) POST GRADUATE OFFICE We, the undersigned, members of the Board of Examiners of the final open defense by have read and evaluated his/her thesis entitled Documentation and design development of contemporary women s collection through study and analysis of Raya kobo traditional costume and examined the candidate. This is, therefore, to certify that the thesis has been accepted in partial fulfillment of the requirements for the degree of FASHION DESIGN. Name of the Chairperson Signature Date Name of Internal Examiner Signature Date Name of External examiner Signature Date PG/Graduate Committee Signature Date Final approval and acceptance of the thesis is contingent upon the submission of the final copy of the thesis to the Post Graduate Studies office through the Institute Graduate Committee of the candidate s program. Stamp of Postgraduate office Date: v

EXAMINER S APPROVAL SHEET- II vi

DECLARATION I hereby declare that the thesis is submitted in fulfillment of the Master s degree is my own work and that all contributions from any other persons or sources are properly and duly cited. I further declare that the material has not been submitted either in whole or in part, for a degree at this or any other university. In making this declaration, I understand and acknowledge any breaches in this declaration constitute academic misconduct, which may result in my expulsion from the program and/or exclusion from the award of the degree. Name: Solomon Tsegaye Signature of Candidate: Date: vii

Copyright by Ethiopian Institute of Textile and Fashion Technology EiTEX JUNE 2018 viii

Acknowledgment Firstly, I would like to express my sincere gratitude, next to GOD to my advisor Dr. Chandra Shekar for continuous support of my MS study. Beside my advisor, I would like to thank all my class mate friends, juries, colleagues and my students for their insightful comments and encouragement. I owe exceptional thanks to my families who have been beside me during this study. My Father Tsegaye G/MESKEL (KNDE) AND MY MOTHER YEZENA MELKI (ETYE) this is for you. We started it together while you were in my womb, and we finished it together. Finally, my gratitude goes to my key informants, thanks for helping me in the data collection Process. Thank you GOD for Blessing me Much more than I deserve!! Solomon Tsegaye ix

TABLE OF CONTENTS page ABSTRACT... ii APPROVAL PAGE... iii ADVISORS APPROVAL SHEET... iv EXAMINER S APPROVAL SHEET- I... v EXAMINER S APPROVAL SHEET- II... vi DECLARATION... vi Copyright... viii Acknowledgment... ix Table of content... x LISTOFTABLES... xiii LIST OF FIGURES... xiii CHAPTER ONE: INTRODUCTION... 1 1.1 Back ground and Justification... 1 1.2 Statement of the problem... 3 1.3. Purpose of the research... 4 1.4. Objective... 5 1.4.1 General objective... 5 1.4.2 Specific objectives... 5 1.5 Scope of the study... 5 1.6 Benefits and beneficiaries of the thesis... 5 1.6.1. Benefits... 5 1.6.2. The major beneficiaries... 6 CHAPTER TWO: LITERATURE REVIEW... 7 2.1 Costume Introduction... 7 2.2 Ethiopian costume... 9 2.2.1 Raya kobo costume... 12 2.2.2 Historical costume... 14 2.2.3 Highland costumes... 15 2.2.4 Lowland costumes... 17 2.2.5 Religious costume... 18 2.2.6 Weaving... 22 x

2.2.7 Costume designer... 22 2.2.8 Egyptian Clothing... 25 2.2.9 Decoration and coloring... 26 2.3 Literature gap... 27 CHAPTER THREE: MATERIALS AND METHODS... 28 3.1 Introduction... 28 3.2 Materials... 28 3.3 Methods... 31 3.3.1 Concept board... 33 3.4. Data collection and Analysis... 33 3.4.1 Interview... 33 3.4.2 Observation... 36 3.4.3 Secondary data collection... 43 3.4.4 Drawback of the existing costume... 47 CHAPTER FOUR: RESULT AND DISCUSSION... 48 4.1 Raya kobo traditional costume name and category... 48 4.2 Background of Raya Kobo... 49 4.2.1 Raya kobo, Women s traditional clothing... 51 4.2.2 Raya kobo Women s jewelry, accessories and Cosmetics materials... 53 4.2.3 Women s cosmetic s, materials... 55 4.2.4 Raya kobo women s hair style... 56 4.2.5 Raya kobo men s cloth and jewelry s... 57 4.2.6 Raya kobo men s hair style... 59 4.2.7 Raya Kobo s kid s fashion costume and hair style... 59 4.2.8 Raya Kobo traditional Events... 60 4.2.9 Wedding ceremony... 60 4.3 Product Development... 61 4.3.1 Fashion Design Process... 61 4.3 Summary of the research finding... 90 CHAPTER FIVE: CONCLUSION AND RECOMMENDATION... 91 5.1 CONCLUSION... 91 5.2 Recommendation... 92 Reference... 94 APPENDICES/SUPPLEMENTARY... 97 xi

LISTOFTABLES page Table 4.1: Raya kobo traditional costume name and category...48 Table 4.2: Design one specification sheet...71 Table 4.3: Design one and flat sketch......72 Table, 4.4 design one bill of material.......73 Table, 4.5 spec measurement sheet... 74 Table, 4.6 Operations break down (Design one).... 75 Table, 4.7 design one cost sheet. 76 Table, 4.8 design two specification sheet...78 Table, 4.9 design 2 and flat sketch.....79 Table, 4.10 bill of materials (design two)...80 Table, 4.11 operations break down (design two)...81 Table, 4.12 cost sheet design 2...82 Table, 4.13 design three specification sheet....84 Table, 4.14 Design three and flat sketch...85 Table, 4.15 bill of materials (design 3)...86 Table, 4.16 operations break down (design 3)... 87 Table, 4.17 cost sheet (design 3)...88 xii

LIST OF FIGURES Page FIGURE, 1. 1RAYA KOBO CULTURAL CLOTH... 2 FIGURE, 1. 2 RAYA COBO CASUAL WEAR... 2 FIGURE, 2.1 AFAR GIRL NECKLACE AND BABIES RIDE ON THE MOTHER S BACKS.... 9 FIGURE, 2.2 ETHIOPIAN JEWELRY DETAIL... 10 FIGURE, 2.3 OROMO, WOLLOAND MAJANGIRL GIRL HAIR STYLE.... 11 FIGURE, 2.4 RAYA KOBO WOMEN S TIBKO DRESS... 12 FIGURE, 2.5 RAYA KOBO WOMEN S TIFTIF DRESS... 12 FIGURE, 2.6 RAYA KOBO WOMEN S JEWELRY... 13 FIGURE, 2.7 ANDE EGER HAIR STYLE... 13 FIGURE, 2.8 RAYA KOBO MEN S ERBO CLOTH... 13 FIGURE, 2.9 RAYA KOBO MEN S DEGE CLOTH... 14 FIGURE, 2.10 PERIOD COSTUME- WARRIOR, HUNTERS AND ARISTOCRATS... 14 FIGURE, 2.11 WESTERN HIGHLAND (WOLLEGA, KEFA) OROMO, GURAGE, GIBE... 16 FIGURE, 2.12 RELIGIOUS COSTUME ORTHODOX CHRISTIAN, MUSLIMS, QEMANT... 18 FIGURE, 2.13 HABESHA KEMIS (AHMED, 2017) A NEW SILTIE DRESS... 20 FIGURE, 2.14 COSTUME DESIGN SKETCH AND DESIGN... 23 FIGURE, 2.15 ANCIENT EGYPT SANDALS... 26 FIGURE, 3.1 RESEARCH METHODS... 32 FIGURE, 3.2 TIBEKO DRESS, ERBO AND MEKENET... 38 FIGURE, 3.3 TIFTIF, SHIRATO AND WASHO SHEMA SHIRATO... 38 FIGURE, 3.4 SHEKUAR, WELEBA, AND MESKEL... 38 FIGURE, 3.5 DECOT, BIRCUMA, ANBAR AND SANKADRI... 40 FIGURE, 3.6 YEKUNI KEL, KECHO, NATREAN AND KULE... 40 FIGURE, 3.7 GOBEZENA KONJO AND ANDE EGER... 40 FIGURE, 3.8 ERBO, GONBISO AND DEGE... 42 FIGURE, 3.9 RAYA KOBO MEN S CLOTH... 42 FIGURE, 3.10 AFRO AND GUTENA... 42 FIGURE, 3.11 EXISTING RAYA KOBO COSTUME... 43 FIGURE, 3.12 EXISTING RAYA KOBO COSTUME BANNER... 43 FIGURE, 3.13 EXISTING AMHARA COSTUME... 44 FIGURE, 3.14 SPRING 2018 FASHION TRENDS FROM NEW YORK FASHION WEEK... 45 FIGURE, 4.1 TIBEKO DRESS... 51 FIGURE, 4.2 ERBOO DRESS... 51 FIGURE, 4.3 MEKENET... 52 FIGURE, 4.4 TIFTIF DRESS... 52 xiii

FIGURE, 4.5 SHEKUAR... 53 FIGURE, 4.6 WELEBA... 53 FIGURE, 4.7 KECHO... 55 FIGURE, 4.8 YE KUNI KEL... 55 FIGURE, 4.9 KORI... 55 FIGURE, 4.10 AFESASO... 56 FIGURE, 4.11 ASA SERET... 56 FIGURE, 4.12 SHURUBA... 56 FIGURE, 4.13DEGE... 58 FIGURE, 4.14 TIRKE SHOE... 58 FIGURE, 4.15INSPIRATION PICTURE... 61 FIGURE, 4.16 RESEARCH BOARD... 61 FIGURE, 4.17 INSPIRATION BOARD... 62 FIGURE,4.18 THEME BOARD... 62 FIGURE,4.19 MOOD BOARD... 63 FIGURE, 4.20 LINE BOARD... 63 FIGURE, 4.21 FORM BOARD... 64 FIGURE, 4.22 MOTIF BOARD... 64 FIGURE, 4.23 COLOR BOARD... 65 FIGURE, 4.24 MATRRIAL BOARD... 65 FIGURE, 4.25 CLIENT BOARD... 66 FIGURE, 4.26 CONCEPTUAL BOARD... 67 FIGURE, 4.27 CONCEPTUAL BOARD... 67 FIGURE, 4.28 DESIGN BOARD... 68 FIGURE, 4.29 DESIGN BOARD... 68 FIGURE, 4.30 STORY BOARD... 69 FIGURE, 4.31 TRIM BOARD... 69 FIGURE, 4.32 ACCESSORIES BOARD... 70 FIGURE, 4.33 DESIGN ONE PATTERN... 75 FIGURE, 4.34 FINAL DESIGN ONE... 77 FIGURE, 4.35 DESIGN TWO PATTERN... 81 FIGURE, 4.36 FINAL DESIGN TWO... 83 FIGURE, 4.37 DESIGN THREE PATTERN... 87 FIGURE, 4.38 FINAL DESIGN THREE LOOK... 89 xiv

CHAPTER ONE INTRODUCTION 1.1 Back ground and Justification Ethiopia has a diverse mix of ethnic and culture backgrounds. It is a country with more than 80 different ethnic groups each with its own language, culture, custom and tradition. As a Land of diversity and multi-ethnic state, Ethiopians are justifiably proud of the range of their traditional costumes. The most obvious identification of the different groups is in the fabric type, embroidery of the traditional dresses, jewelry, accessories and hair styles. The Ethiopian traditional costume is made of woven cotton. Ethiopian men and women wear this traditional costume called Gabbi or Netella. Women often wear dresses (Kemis) and netella with borders of color embroidered woven crosses, but other designs are also used. Other ethnic groups and tribes in the south and west of the country wear different costumes that reflect their own traditions. Some tribes partially cover their body with leather but others do not wear any clothes at all, simply decorating their faces and bodies with distinctive images. It has a long history of traditional Cultural dress and fabrics manufacturing that are endowed with profound national culture up to this date. The traditional clothes are made with culture-based cloth that represents Ethiopia's sense of pride and dignity. The traditional dress of Ethiopia has the unique charm of simplicity which developed from different unique costumes. Raya kobo is one of the most beautiful ethnic groups. They have enormous and grace full tradition and culture. Raya Kobo society since the ancient till now they have keeping their enormous and precious culture. In that society has their own belief according to their traditional aspects for the sake of holding their cultural cloth, jewelry, hair style, accessory and traditional perfume etc. 1

Figure 1: Raya kobo cultural clothe Figure, 1.1: Raya Kobo cultural cloth (Source: - Field research from Raya kobo city) In our country we are immerging to this big industry, yet exclusively do not have written documents concerning our traditional fashion costume in terms of ethnic and cultural costume. In order to launch the fashion industry in Ethiopia it should be on the bases of Ethiopian traditional cloths.beyond this thesis studying all over the background on Raya Kobo traditional genuine costume and knowing current trend fashion costume to have the relevant data in order to solve and fulfill the gap (About us :Amhara National Regional State Culture & Tourism Bureau, 2017). Figure, 1.2: Raya Kobo casual wear (Source: - Field research from Raya kobo city) 2

The Raya kobo people are one of the ethnic groups who got a different cultural costume following this trend. Hence, the main objective of the research is, to trace the changes and continuity in the cultural dressing of the community and examine the incentives for creating new contemporary costumes. The research examines the links between the newly designed costume and the Raya Kobo people s culture, history and religion. Knowing people s reflection and reaction regarding the newly invented costume was a main objective of this project. I gathered extensive qualitative data through interviews and questionnaires, focus group discussions and observation and used available secondary resources and other readings. In this thesis work an attempt is made to study, identify and documenting the Raya Kobo traditional genuine costume, present them to the academic community through establishing national resource Centre at EiTEX. 1.2 Statement of the problem This thesis work is designed to solve Raya Kobo traditional genuine costume documentation and design development of contemporary women s collection. Currently Ethiopian cultural costume has lack of documentation which affect it is difficult to develop new product, not motivate for new product developer and education institute affect with local of materials. Can t get proper information for, Movie industry, documentary film, drama different Researcher and Education institute who want to study about Ethiopian costume. New generation do not get proper information about the past traditional fashion costume. Young Fashion Designer is not being able to develop new product with local of materials and accessories. Know a day there is no Ethiopian costume reference for creating new design and also for promotions our genuine cultures, fabrics, accessories, trims, traditional make up and perfumes, for student, 3

researchers also for the other costume design. This thesis has the potential to provide a reference and inspiration in protecting the remaining traditional dress of the country and for the development of modern apparel. Except in regional states, the Ethiopian traditional Cultural dress and fabrics legacies were not exclusively organized for fashion and textile research purpose in the academic institutions. Therefore, This thesis purely deals with it is required to collect and document the Raya Kobo traditional genuine costume-documentation and design dress in organized manner by the academics Institutes like EiTEX and FOKLOR for teaching and research purpose as a national resource. Only through recognizing the importance of organizing all the Ethiopian traditional cloth and establishing national resource center, and passing it on to the future generation. Raya Kobo traditional genuine costume-documentation and design includes pictures of the communities, women, and men, kids wearing traditional clothing, accessories examples of the different textile patterns and motifs from the specific ethnic groups and example from the collection. 1.3. Purpose of the research Now a day Textile and Garment is developing industry in Ethiopia. Fashion is one of the backbones for garment industry. When we look all of state of affairs within fashion industry, traditional fashion costume is the main valuable part and Different country by studding their own fashion costume history they get a lot of benefits world widely. Beyond this research studying all over the background, knowing current trend and design different refashion contemporary outfit collection to have the relevant data in order to solve and fulfill the gap. 4

1.4. Objective 1.4.1 General objective The general purpose of this work is to identify and analysis on Raya Kobo traditional costume also documentation of resource and design development of contemporary women s collection. 1.4.2 Specific objectives To identify, collect and document different traditional cultural costume of unique groups in Raya Kobo area. To identify and analyze current trend Raya Kobo costume. To Categorize Men s, women s, kids and occasion Raya kobo costume-documentation. To identify the limitation on cultural costume documentation and to give solution. To develop contemporary design collection. To develop product design process technique portfolio. To provide EiTEX Staff and Students as a source of Inspiration. 1.5 Scope of the study Beyond this research studying all over the background history, identify and analysis on Raya Kobo traditional genuine costume-documentation resource and design development of contemporary women s collection., knowing current trend and design different design development of contemporary women s collection to have the relevant data in order to solve and fulfill the gap. 1.6 Benefits and beneficiaries of the thesis 1.6.1. Benefits Fashion costume history is the main valuable part and Different country by studding their own fashion history they get a lot of benefits world widely. In our country we are immerging to this big industry, yet exclusively do not have written documents concerning our traditional fashion costume specially Raya Kobo traditional costume there is no clear and genuine documentation. 5

In order to launch the fashion industry in Ethiopia it should be on the bases of Ethiopian traditional cloths. In terms of teaching, learning and research aspects EiTEX staff and students will benefit from this project to work with the collection and supporting lecture and seminar programs. For that matter this project in North Wollow, Raya Kobo traditional cloth, jewelry and accessories, helps to condemn the sample for the sake of establishing all over the entire Amhara Region fashion costume. 1.6.2. The major beneficiaries Amhara Region culture and tourism office. North wollo, Raya Kobo zones and city Bahir Dar university EiTEX staff and students will benefit from this project to work with the collection and supporting lecture and seminar programs. In terms of teaching, learning and research aspects. National and international communities and organizations. Researchers. 6

CHAPTER TWO LITERATURE REVIEW 2.1 Costume Introduction Costume is the distinctive style of dress of an individual or group that reflects their class, gender, profession, ethnicity, nationality, activity or period. The term also was traditionally used to describe typical appropriate clothing for certain activities, such as riding costume, swimming costume, dance costume, and evening costume. Appropriate and acceptable costume is subject to changes in fashion and local cultural norms. The Ethiopian traditional costume is made of woven cotton. Ethiopian men and women wear this traditional costume called gabbi or Netella. Women often wear dresses (Kemis) and netella with borders of colored embroidered woven crosses, but other designs are also used. Other ethnic groups and tribes in the south and west of the country wear different costumes that reflect their own traditions. Some tribes partially cover their body with leather but others do not wear any clothes at all, merely decorating their faces and bodies with distinctive images (about us: Ethiopian culture, 2017). The people of Ethiopia wear many different types of clothing. The traditional dress of the Christian highland peasantry has traditionally been of white cotton cloth. Since the time of Emperor Tewodros 11 (mid-1800s), men have worn long, jodhpur-like trousers, a tight-fitting shirt and a shamma (loose wrap). The Muslims of Harari, by contrast, wear very colorful dress, the men in shortest trousers and a colored wrap and the women in fine dresses of red, purple and black. The lowland Somali and Afar wear long, brightly colored cotton wraps, and the Oromo and Bale people are to be seen in the beaddecorated leather garments that reflect their economy, which is based on livestock. Costumes to some extent reflect the climates where the different groups live - highlanders, for instance, use heavy cloth capes and wraparound 7

blankets to combat the night chill. In the heat of the lowland plains, light cotton cloths are all that is required by men and women alike. Traditional dress, though often now supplanted by Western attire, may still be seen throughout much of the countryside. National dress is usually worn for festivals, when streets and meeting-places are transformed into a sea of white as finely woven cotton dresses, wraps decorated with colored woven borders, and suits are donned. A distinctive style of dress is found among the Oromo horsemen of the central highlands, who, on ceremonial days such as Maskal, attire themselves in lions' manes or baboon-skin headdresses and, carrying hippo-hide spears and shields, ride down to the main city squares to participate in the parades. The women of Amhara and Tigray wear dozens of plaits (sheruba), tightly braided to the head and billowing out at the shoulders. The women of Harar part their hair in the middle and make a bun behind each ear. Hamer, Geleb, Bume and Karo men form a ridge of plaited hair and clay to hold their feathered headwear in place. Arsi women have fringes and short, bobbed hair. Bale girls have the same, but cover it with a black head cloth, while young children often have their heads shaved (about us: Ethiopian culture, 2017). Costume jewelry Our contemporary jewelry collection offers elegance & allure with necklaces, rings & more. Costume jewelry, trinkets, fashion jewelry, junk jewelry, fake jewelry, or fall alary is jewelry manufactured as ornamentation to complement a particular fashionable costume or garment, as opposed to "real" (fine) jewelry which may be regarded primarily as collectibles, keepsakes, or investments (About us :Amhara National Regional State Culture & Tourism Bureau, 2017). Culture Ethiopia has a diverse mix of ethnic and linguistic backgrounds. It is a country with more than 80 different ethnic groups each with its own language, culture, 8

custom and tradition. One of the most significant areas of Ethiopian culture is its literature, which is represented predominantly by translations from ancient Greek and Hebrew religious texts into the ancient language Ge'ez, modern Amharic and Tigrigna languages (About us :Amhara National Regional State Culture & Tourism Bureau, 2017). A necklace worn by an afar girl consists of small leather packets hanging from the neck chain and excessively decorated with red and blue beads. Babies ride in the comfort on the mother s backs. They can be quite simple, but it is most common to see the baby-carrier decorated excessively with beads and cowrie shell. Figure, 2.1: Afar girl necklace and Babies ride on the mother s backs. (Source: - Amehara culture and tourism office) 2.2 Ethiopian costume The illustration of the Ethiopian costumes book are based almost entirely on photographs from sources too numerous to mention individually. Some of the photographers those work i have plagiarized are as follows: Michaud, Gerster, Fabby, last, leslau, shack, and wubale. for most of the details of jewellery and hair styles, reference was supplied by ETC photo archives, and a few of the costumes illustrated are in the Ethnological Museum, Addis Ababa (last & donovan, 2005) 9

According to last & donovan (2005), the costumes of the Ethiopian people are as varied and interesting as the population itself, reflecting ancient and modern trends in decoration, the fanciful as well as the practical. Broadly speaking, the basic garment of the highland Ethiopian is the shamma, a length of cotton that doubles as a body and head covering and is often worn in addition to items of modern dress such as a skirt or trousers. in the streets of Addis Ababa the traveler will see the shamma in all its variations. Other common items of apparel include the netela, the Gabi, a coarse, blanket-like cloth worn for warmth and the barnos or cape. The kemis is a dress of varying length worn by woman and decorated which embroidery and colored woven boarder. A love of ornamentation ruled by a natural attraction for beauty leads the Ethiopians to adorn themselves in memorably dramatic fashion. Timeless symbols such as the cross and the lion s mane have long been used in decoration. Tattooing of the face, neck, and hands. And elaborate traditional hairstyles, though no longer the roll with sophisticated city persons, are still seen everywhere among country folk. A profusion of jewelry, whether crafted by skillful smiths of gold and silver or made in the villages of cowrie shells and leather, base metals and colorful beads, is an integral part of the national dress. Briefly, in dress as in political, cultural, and religious tradition s the Ethiopians follow a heritage that is vital, colorful, and unique (THAMES & Hudson, 1998). Figure, 2.2: Ethiopian Jewelry detail (Source: - Amehara culture and tourism office) 10

1. Heavy metal bracelets of this type are found most commonly among the Arsi Oromo. Made of copper, brass, and nowadays of aluminum, they do not compare with the finer silver bracelets. 2. Ear picks come in a thousand designs in filigree silver and are worn round the neck on a cord. 3. Lion s claw mounted in silver ornamentation. 4. Cylindrical containers, excessively decorated with filigree and silver beads, are used in wedding ceremonies to hold small ornament s like the birds rings. 5. Square silver, or baser metal, medallions are usually hollow, and very heavy. 6. Silver medallions, some made from the old maria Theresa dollar are a favorite form of jewelry. Cultural hair style 1. Oromo women in arsi wear their hair in many different styles. The one shown is one of the less common. 2. Young girl of Wollo near Dessie wears silver-earrings and necklace, circular silver cross. Tattoo on the cheeks and fore head are additional signs of beauty. 3. A Majangirl girl from western Ethiopia whose hair is kept in place with a excessive application of red clay. Bracelets are usually of brass, the lip ornament of ivory or horn. Figure, 2.3: Oromo, wollo and Majangirl girl hair style. (Source: - Amehara culture and tourism office) 11

2.2.1 Raya kobo costume Women s dress Tibko Dress : Raya kobo traditional dress which is made from (Bofe) plain fabric, dying within natural butter. Figure, 2.4: Raya Kobo women s Tibko dress (Source: - Field research from Raya regional administration zone) Tiftif : is made from (bofe) or plain fabric which it contains many color full embellishment and that can be worn by single women s which mostly worn during the wedding ceremony (Mesgan, Raya kobo costume, 2018). Figure, 2.5: Raya Kobo women s Tiftif dress (Source: - Field research from Raya regional administration zone) 12

Raya ladies jewelry and accessories Figure, 2.6: Raya Kobo women s Jewelry Shekuar : one of kobo traditional jewelry which it s made from silver and gold worn by Kobo s unmarried and elder ladies on the upper part of their ears. (Source: - Field research from Weldya regional administration zone) ANDE EGER: - kind of hair style formed by there is one plump of hair at the middle of the head and the other is intersecting each other (Zenbeche, 2018). Raya kobo men s cloth and jewelry s Figure, 2.7: Ande Eger Hair style (Source: -Field research from Raya Kobo city) Erbo : is a kind of traditional cloth which is made up of mage and bofe white handmade fabric thread and decorate with yarn fabric at the edge dress. Mostly dye within butter and worn by young boy s. Figure, 2.8: Raya Kobo men s Erbo cloth (Source: - Field research from Raya kobo city) 13

DEGE: is kind of traditional cloth, seated at the waist it s very wide, length cloth the dress length is depending on the person and length of that person. It made from (mage) thread. Mans after wearing the GONBISO. starting from waist part up to abdomen,chest wearing the cloth by rotating the cloth to the body. Figure, 2.9 Raya Kobo men s Dege cloth (Source: - Field research from Raya kobo city) 2.2.2 Historical costume In ancient times dress was an important sign of class. None but the aristocracy were allowed to wear ornate clothing, and even under the Proearsgressiv 19 th century monarch, Tewodros, cotton clothing was ordained for the masses, and only aristocrats might dress in silk and brocade. In the northern regions, only ladies of quality might wear embroidered cloaks and red-bordered shammas, while in southern Ethiopia the color green was reserved for the king, as Figure, 2.10: period costume- warrior, hunters and aristocrats (Source: - Last and Donova, 2005 Ethiopian costumes book) 14

Period costume warrior, hunters and aristocrats 1. Elephant hunter at the turn of the century. These men also sometimes worn their hair long and plaited in hundreds of plaits, bracelet and earring were only worn by the brave. 2. Ladies of aristocratic rank wore gold embroidered cloaks (kaba) over their hand woven cotton dresses. 3. Oromo warrior carries a shield of hippopotamus hide. 4. A warrior chief from the highlands with gelada baboon fur headdress and lions mane cape worn over a striped silk tunic. 5. Amhara warrior in velvet gold embroidered cape, the shape of which is based on an animal skin. Such costumes are still worn of festive occasions. 6. Hates were worn by town folk at the term of the century. 7. An Amehara leader in velvet cloak and traditional white cotton tunic and jodhpurs. 8. A mounted warrior of the highlands. 9. Highland kemis and shamma. Older people still wear this costume today. 2.2.3 Highland costumes In central and northern Ethiopia the Amhara and Tigrean women are usually seen wearing the kemis, a long, full-sleeved cotton gown that is often embroidered at the neck, cuffs and hem. Some kemis styles are very simple, with a fitted bodice and full skirt, others are more elaborate, with overall pleats and gathering about the waist. According to the area, the kemis may be adorned with cotton thread embroidery in the cross symbol, or studded about the neck and cuffs with small silver beads. Over the kemis goes a shemma, or light cotton length, usually with a boarder that matches the trimming on the dress. The shemma is draped over the head and shoulders in a graceful fashion and sometimes held by the wearer over nose and mouth. In cold weather a heavier shemma, or kuta, may be worn, or a conical cape called a Bernos. The boarder of the shemma and kemis may be richly woven with bright silk or 15

cotton threads to form a boarder called a tibeb, which lends richness and dignity to the humblest costume. The tibeb design may contain geometrical figures, purely fanciful forms, or classic symbols such as star and cross, and the width of the boarder varies from a few centimeters in one case to a quarter of a meter or more in another. With her kemis and shemma the Amehara or Tigrean may wear sandals, heelless slipper, or high fashion shoes. Though in the country side bare feet are usual. In the north, women stain the soles of their feet and the palms of their hands with a red vegetable dye called Ensosela. In the cities a sweater or coat may replace the traditional kuta or bernos in cold weather. Umbrellas, used for protection from both sun and rain, are seen everywhere among rich and poor. Jewelry of silver and gold is widely worn by Amharas and Tigreans. Figure, 2.11: Western highland (Wollega, Kefa) Oromo, Gurage, gibe (Source: - Last and Donova, 2005 Ethiopian costumes book) Western highland (wollega, kefa) Oromo, Gurage, Gibe) 1. Gurage women wear heavy hand woven cotton dresses and black head shashe. 2. A farmer from Kefa has full jodhpurs and a cummerbund. 3. Kefa girl wears the shash in the fashion of the area. 16

4. One of the many fantastic hairstyles worn by the women of the gibe but rarely seen today. And (9) Columbus monkey fur cape is worn on festive occasion by men of the Dorze nationality. 5. Wedding rings and rings with symbolic patterns are worn, mainly of gold and silver without gems, though from time to time a mounted stone is seen. Perhaps because Amehara and Tigrean influence was so widely diffused the dress of the two nationalities has been accepted in many areas, for example among the Welayeta, the Mao, and the Konta, in addition to items of regional dress. 6. Amhara and Tigrean men wear cotton Jodhpur style trousers that flare above the knee and allow for freedom of movement through the body, while the lower leg is closely fitted. 2.2.4 Lowland costumes Among the Oromo s, the popular garment for men is the waya, a local version of the shemma, which is smeared with butter for extra warmth and impermeability. This is often worn with cotton twill trouser, sort or long, full or jodhpur-style. Oromo woman is some areas affect tunics with sleeve, or the breasts may be left bare, a cotton scarf thrown about the shoulders, and the lower body covered with a leather skirt. Southern cultivators (Sidama, Shoa, Gamogofa) Gurage, konso, Derass Young girl s apron is made of leather and cowrie shells. A cloth of heavy hand woven cotton is worn by women of the Erbore. konso woman wear leather hats to the fields or to fetch water to protect their heads from snakes. Gamu Gofa woman in along leather cloak. Gurage chief leads ceremonial dancing wearing. Sidama women with cowrie shells on the ends of her hair have the brightly colored trousers and shirt of the region worn under a leather cape. 17

2.2.5 Religious costume The Ethiopian Orthodox church has a multitude of functionaries and the priest, deacon or nun is a familiar sight, especially in the city, where there are large churches and religious centers. Priests and deacons dress simply, in along cotton gown that is a variation on the kemis, a cloche-style hat, sometimes draped with cloth, called a kob, and a cloak of heavy material with a stiff stand-up collar called a kaba. On special occasion the netela worn over the priests shoulder has a colorful stripe, and priests of the higher ranks wear richly embroidered bands and a kaba decorated with metallic thread. The Islamic religion, they all wear almost the same dress that means long trouser, kemis, koffiya and turban on the head. Some put on a large cloak. Figure, 2.12: Religious costumes orthodox Christian, Muslims, Qemant (Source: - Last and Donova, 2005 Ethiopian costumes book) Religious costume Orthodox Christian, Muslims, Qemant 1, Priests of the Qemant. (2) Crown like headdress of a young deacon bearing a heavy and ornate processional cross of brass. (3) Priests of Lalibela. (4) Muslims sheik. (5) Head dress of a deacon of the Orthodox Church. (6) Old priest of the highlands carrying a fly whisk and payer book. (7) The sheiks of Islam do not wear any special clothes or colors to denote rank. (8) Yellow robed priest from Gondar. (9) Ancient nun in Lalibela leans. (10) Dignitary of 18

the Orthodox Church. (11) A priest takes part in the timiket (epiphany) ceremony in Addis Ababa. Fashioning History: Women's Costumes from Eastern Hararghe, 1850-1886Author: Peri M. Klemm This preliminary investigation will address the formal and symbolic developments in certain aspects of costume from 1850 to 1886 in and around Harar among the Somali, Oromo, and Harari peoples. The objects under investigation include select clothing, jewelry, and hair styles worn by women in eastern hararghe and featured, in part, in the institute of Ethiopian studies Museum 2000 exhibition, women s costumes of eastern Ethiopia created by by the author. It has a brief description of the historical dress from this region will demonstrate the value of material cultures as evidence in historical analysis. In harari costume, a woman s dress is layered with messages that communicate her social and biological position in society, impart information about her political and spiritual beliefs, and visually indicate her ethnic identity (Klemm). Clothes and ethnic identity: (re)constructing identity through cultural clothes as ethnic markers. The case of Siltie nationality of Southern Ethiopia Clothes and Ethnic Identity: (Re) Constructing Identity through Cultural Clothes as Ethnic Markers. The Case of Siltie Nationality of Southern Ethiopia is a project which investigates the new trends of creating costumes among ethnic groups in Ethiopia, with a focus on the interface between cultural costumes and ethnic identity. Along the lines of promoting their costumes, the nationalities have started to identify the color, symbols and signs associated with their distinctive cultures. The attempt to find symbolic representations, in some case, resulted in producing cultural costumes with new signs, symbols and colors which have never been used on their costume (Blanche & Winako, 1992). The Siltie people are one of the ethnic groups who got a new cultural costume following this trend. Hence, the main objective of the research is, to trace the changes and continuity in the cultural dressing of the community and examine the incentives for creating new costumes. The research 19

examines the links between the newly designed costume and the Siltie people s culture, history and religion. Knowing people s reflection and reaction regarding the newly invented costume was a main objective of this project (Ahmed, 2017). Figure, 2.13: Habesha kemis (ahmed, 2017) a new siltie dress (Source: - Clothes and Ethnic Identity :) Fashion, Costume, and Culture book is focusing on specific cultural traditions or on a specific Chronological period in history. Each of these book chapters shares the following components: A chapter introduction, which discusses the general historical framework for the chapter and highlights the major social and economic factors that relate to the development of costume traditions. The other sections that cover Clothing, Headwear, Body Decorations, and Footwear. Each of these sections opens with an overview that discusses general trends within the broader category, and nearly every section contains one or more essays on specific garments or trends that were important during the period. Each chapter introduction and individual essay in Fashion, Costume, and Culture includes a For More Information section listing sources books, articles, and Web sites containing additional information on fashion and the people and events it addresses (Barthes, Roland, 2004). 20

3000 B.C.E. Men and women in the Middle East, Africa, and the Far East have wrapped turbans on their heads since ancient times, and the turban continues to be popular with both men and women in many modern cultures. c. 3100 B.C.E. Egyptians perfume their bodies by coating their skin in fragrant oils and ointments (Pendergast & Pendergast, 2004). History of World Costume and Fashion (Fashion Series) 1st Edition By Daniel Delis Hill (Author), JoAnne Eicher The History of World Costume and Fashion presents a comprehensive survey of dress from around the world including Asia, Africa, the Islamic Empire, and the Ancient Americas. This extensive study features descriptions and analysis of men s, women s and children s clothing, accessories, and cultural styles from prehistory into the twenty-first century (Hill & Eicher, prentice hall 2010). Body dressing: Dress, Body, Culture Joanne Entwistle and Elizabeth Wilson (eds) For some time now the body has been a central topic across a range of social science disciplines. Similarly, there has been a growing interest in the cultural meaning of clothing. But curiously, even though people are nearly always clothed, the relationship between dress and the body has been relatively unexplored until now. Dress is a crucial aspect of embodiment, shaping the self physically and psychologically. From dressing up to dressing down, this book exposes the complex ways that fashions and costumes render the body presentable in a vast range of social situations. The authors consider different approaches to the relationship between fashion, dress and the body, and present new theoretical models for their future study. They demonstrate the importance of the concept of 'embodiment' to dress and fashion studies (Entwistle & Wilson, 2010). The Ancient World (History of Fashion and Costume) Hardcover 2005 By Jane Bingham (Author) an eight-volume set examining the development of costume and fashion and the social history that gave 21

Rise to it. It depicts the changing styles, processes, and trends from the first people to wear clothes in the last Ice Age to the courtly fashion of medieval Europe to the globalization of Western style - that led us to the clothing of today (Bingeham, 2016). 2.2.6 Weaving According to Hudson & Spring (1995), the finest cloth in Ethiopia is today produced by two Ethnic groups who live close to one another in the southern highlands of Ethiopia: The Konso and the Dorzr. The Dorze migrate to the large towns in search of other outlets for their Products, which the Konso people rarely do (ibid.). In this paper I will focus on the Dorze (Silverman A, 1999). In Ethiopia the horizontal treadle loom is used in weaving the cotton, silk and synthetic fibres. There are numerous regional variations of the treadle loom. The pit looms is the one Dorze use (Hofverberg, 2010). The weavers use three kinds of raw materials: Dir, a factory produced warp (which is locally Known as komtar,) mag, a weft which is spun by women mostly in the house and t ilet, factory produced colored threads used for decorative borders (Freeman & pankhurst, 2003). According to Freeman and Pankhurst the weavers produce three kinds of cloth: K emis, is the name for women s dresses which are usually worn together with a net ela. The bulliko can be added to the list of cloth. It is a thicker and bigger cloth used as a blanket in bed. Except for the decorative borders the material used in these clothes is cotton. The cotton ripens in the dry season and it is therefore associated with drought. And the white color, reminds of the color of bleached bones, and is therefore closely connected with death. This is one of the reasons why the weavers have a marginalized status in Ethiopia (Hudson & Spring, 1995). 2.2.7 Costume designer According to David and Frank, The costume designer has to put a lot of creative and investigative effort into the creation of costumes to provide the right clothes for a particular role, which means the costume reflects the place and time of play as well as it shows understanding of the characteristics of the role, actor and screenplay overall (David, Johanna, Frank, & Lutz, 2012). 22

Costumes: Telling the Story and Creating the Character Costume designers create both Beautiful gowns for a glamorous entrance and everyday clothes when required by the script. They must know who characters are before they create a secret of clothes and accessories for the characters. A costume is worn by one actor, as one specific character, in a specific scene or scenes in the story. Most important, the audience must believe that every person in a story has a life before the movie begins (Deborah Nadoolman Landis, 2014). The costume design process begins with studying the screenplay. Scripts Describe the action (what happens in the scene), the time period (when the action takes place), the location (Where the action takes place), and the characters in each scene. After reading the script, the costume designer meets with the director to discuss the overall vision for the film. At the first meeting with the director, the costume designer may learn about the casting choices and specifics about characterization, the overall color palette and the mood of the film. For example, if a scene takes place in a modern-day high school, a costume designer will visit a local high school. The screenplay will dictate the specific location of the story and the designer will be careful to be very specific in his or her research. The designer will compile an album, called a research bible, containing portraits of staff, teachers and students. Figure, 2.14: costume design sketch and design (Source: Deborah Nadoolman Landis. (2014). 23

More research will be done into the taste and style of the students, including their shopping habits. It may be a surprise that modern films are often more difficult to costume than historical films. It is distracting for the audience when the costumes are unrealistic for a scene, too expensive for a character or wrong for a dramatic situation. The designer s goal is for the costumes to blend into the story seamlessly and for the audience to be completely engaged in the story. Harry Potter and the Sorcerer s Stone (2001), mixes modern, period and fantasy costuming. Costume designer Judianna Makovsky researched modern yet traditional English private school uniforms (Deborah Nadoolman Landis, 2014). Costumes: Culture and Identity Clothing establishes individuality and provides clues to our cultural identity. Uniforms such as a police uniform, a fast-food worker s polo shirt and khakis, a nun s habit or a chef s hat allow us to instantly identify a person s profession or position. A Scottish kilt and a kimono are emblems of specific countries and cultural origins. The military of every country has uniforms defined by color and sign. Within the military, rankings are extremely important and are indicated by patches and medals. These uniforms vary from country to country and among the different service branches. More loosely, a uniform can simply mean a distinctive personal style that is recognized by others (Racinet.A, 1988). The clothing choices that we make each day are a reflection of our taste, style, and economic, geographic and social circumstances. The colors and patterns that we wear reveal our personality. A costume can provide the audience with information about the time, place and profession of the people in the story. List three professions, cultures or time periods for which you would find the following items: Scarf, Boots, Necktie, Jacket, Backpack, Gloves, Cape (Deborah Nadoolman Landis, 2014). 24

2.2.8 Egyptian Clothing The ancient Egyptians were the first human society to have an identifiable sense of style in clothing. From Egypt s earliest beginnings around 3100 B.C.E. to its eventual decline around 332 B.C.E., Egypt s kings and queens, called pharaohs, and its many noble men and women placed great emphasis on the appearances of their clothes, jewelry, the wigs they wore in place of natural hair, and their skin. The Egyptians idolized the human body, and the clothes they wore complimented the lines of the slender bodies that were most appreciated in Egyptian society (Contini, 1965). Dressing for a warm climate Egypt s climate was very warm, as it is today, and Egyptian dress provided the perfect complement to this warm weather. Both men and women tended to dress very lightly. For nearly 1,500 years it was very rare for men to wear anything on their torso, or upper body. For the upper class and the pharaohs, the main form of dress was the schenti, a simple kilt that tied around the waist and hung about to the knees. Working men wore first a loincloth, a very small garment that covered just the private parts, and later the loin skirt, which was somewhat more modest and covered from the waist to the mid-thigh. In about 1500 B.C.E. Egyptian men began to wear simple tunics on their upper bodies. They adopted the custom from the neighboring region of Syria, which Egypt had recently conquered (Pendergast & Pendergast, 2004). Kalasiris The single most distinctive and important garment worn by women throughout the history of ancient Egypt was the kalasiris, a long linen dress. From the earliest depictions of women at the beginning of the Old Kingdom in around 2700 B.C.E. to those at the end of the Kingdom in around 750 B.C.E., the kalasiris was the uniform of the Egyptian woman. In its earliest form, the kalasiris was a very close-fitting tube dress, sewn at the side that was held up by two straps that attached behind the neck. 25

Tunic: Ancient Egyptian clothing remained relatively unchanged for over two thousand years, with one important exception: the introduction of the tunic, a simple garment that covered the upper body. Egypt s hot climate meant that wearing clothing on the torso was not necessary, and throughout the Old Kingdom (c. 2700 c. 2000 B.C.E.) and the Middle Kingdom (c. 2000 c. 1500 B.C.E.) men dressed primarily in the schenti, or kilt, and sometimes with a skirt worn over the schenti (sara & Tom, 2004). Sandals: One of the very earliest hieroglyphs, Or picture stories of ancient Egypt found Preserved in tombs, shows a sandal maker Accompanying King Menes, the Egyptian ruler Who united Upper and Lower Egypt in about 3100 B.C.E. Despite this evidence, most hieroglyphs show that Egyptians during the Old Kingdom period (c. 2700 c. 2000 B.C.E.) and the Middle Kingdom period (c. 2000 c. 1500 B.C.E.) went barefoot (sara & Tom, 2004). 2.2.9 Decoration and coloring Though we find Egyptian costume in many instances decorated all over with woven or printed patterns, decoration in the main was confined to accessories such as the head-dress, collar, and girdle, these being often painted, embroidered, beaded, or jeweled. See various Examples given. The coloring which was usually though not invariably, confined to the decorations consisted of simple schemes, variations of the hues of red, blue, green, yellow, and deep purple (Cosgrave, 2000.). MATERIAL The material used in the costumes was chiefly linen. In the most ancient types it was of a fairly thick, coarse weave ; but in the later examples a fine thin linen, loosely woven so as to appear almost transparent, was used. The linen has often a stiffened appearance, and also gives the idea of having been goffered or pleated (HOUSTON & FLORENCE S., 1920). Figure, 2.15: Ancient Egypt sandals 26

2.3 Literature gap In conclusion, the main findings of the literature survey are: Currently, there is no clear, detail, formal specific costumedocumentation. It has a gap, on the accessories, traditional make up, perfume and special celebration costume. It has limitation on the new design and deferent traditional costume contemporary design features. Due to the lack of formal costume-documentation. There is also a lack of Clear product design process procedures portfolio. It has a limitation to Identify and analyzes current trend costume and dressing style. Given these findings, the major aim of the project has been set to identify and analysis on Raya Kobo traditional costume also documentation of resource and design development of contemporary women s collection based on trend and art reference. 27

CHAPTER THREE 3.1 Introduction MATERIALS AND METHODS Throughout this research project, the attempt of identifying, collecting and documentation of the cultural events and costumes will be elucidated via ethnographic research approach, which seems to be the most appropriate data collection method for this project. For costume documentation the following materials will be used to do the research work, Digital camera, Digital sound record, Color print, Album size color Photo and Photo album. For contemporary design product documentation needs the following materials: - Pattern making tools and equipment, Bleached muslin and poplin fabric and Digital camera. 3.2 Materials The following materials will be used to do the research work. For costume documentation purpose Digital camera: - take records and stores costume attire and accessories photographic images in digital form. These stored images can be uploaded to a computer immediately or stored in the camera for to be uploaded into a computer or printer later. So it is possible to use for documentation purpose. Digital sound record: - used for recording primarily and secondary data collection method. Like interview and Discuss with Bahir dar, Woldeya, Raya kobo cultural and traditional office. Color print: - it is very important for describing and showing different costume attire, accessories, and hairstyle and all over literature and final picture documents related to the idea. Literature books 28

Album size color Photo; - it is very significant and mandatory for documenting costume image. Photo album: - use for collecting color costume photo. For contemporary product development purpose Pattern making tools and equipment To work efficiently, the design patternmaker must have the proper tools and supplies. To communicate effectively in the workroom design interpretation and to minimize errors due to misunderstanding, the patternmaker should know and understand terminology (JOSEPH-ARMSTRONG, 2010). Pattern making paper Pen, pencil and rubber Pen, pencil and rubber are very important thing for drafting detail patter making and for writing specific pattern information. Measuring tap Metal tape 1/4 inch wide inside a distributor. It is convenient, flexible, and very accurate. Used to take the measurements from human model and it is important for drafting detail pattern lines. L square and ruler This is multi-functional tools, very helpful for drawing 90 and 45 degree at the same time, it is possible to use for drawing curve and straight line. Hip and French curve Hip curve rule to shape hipline, hem, lapels. Vary from curve to blend and shape armhole necklines. French curve is one of several curves used for shaping armhole and neckline. Sleigh curve, shapes necklines, armholes and other curves, pockets, collars, and cuffs. Paper and fabric scissor Tracing wheel, awl, Notcher, trim and other equipment Tracing wheel: - Pointed wheel transfers pattern shapes to paper. Sharp wheel is used with carbon paper to transfer pattern shapes to muslin. 29

Awl: - Pierces 1/8-inch hole in the pattern to indicate the ending of darts, pocket, trim, and buttonhole placements. Notcher:- has been used to cuts a 1/4 1/16-inch opening at the pattern s edge to indicate seam allowance, center lines, and ease notches and to identify front and back of patterns. Bleached muslin and poplin fabric; - for constructing prototype garment, this prototype garment helps to checking the fitting and views. Raya traditional fabric and accessories: - for preparing collection contemporary product. Lining fabric Trims and accessories Digital camera; - for shooting final contemporary garments, it is very important to prepared look book. Other facilities Pattern making room: - for drafting pattern. Cutting laboratory room:-used to marker making and cutting. Garment Construction room: - for constructing garment collection. A lockstitch sewing machine is the most common type of stitch made by a Sewing Machine. It is useful for assembling the pieces of fabric. The term "single needle stitching", often found on dress shirt labels, refers to a lockstitch 5 thread overlook machine Overlock sewing machine: - An overlock is a kind of stitch that sews over the edge of one or two pieces of cloth for edging, hemming, or seaming. Usually an overlock sewing machine will cut the edges of the cloth as they are fed through (such machines being called "sergers" in North America), though some are made without cutters. Ironing machine and board: - The iron is the small appliance has been used to remove wrinkles from fabric. It is also known as a clothes iron, flat iron, or smoothing iron. Ironing is the use of a heated tool (an iron) to remove wrinkles from fabric. The heating is commonly done to a temperature of 180 220 Celsius, depending on the fabric. 30

Internet and library facility in the university Software Adobe Photoshop cs4:- has been used to this Adobe Photoshop, computer application software used to edit and manipulate digital images, to design different images and helps for preparing concept board. Adobe Illustrator: - is a vector graphics editor developed and marketed by Adobe Systems. Like adobe Photoshop has been used for designs, flat sketches 3.3 Methods Assess and collect different literature costume books and electronic journals (Study and Collect reliable Ethiopian costume information (Costume books, magazines, photo Articles and case study) Study and Identify current trend Raya Kobo costume and dressing style. Data collect by Revised and analyses detail information and study research techniques and important material (Identify and analysis this different costume documentation) Identify the gap analysis documents and define the direction and the target (Study contemporary cultural and historical design trends) Make a clear Raya kobo clear costume-documentation. 31

Phase 1, costume documentation Methods Phase 2, contemporary product Assess and collect different literature costume books and electronic journals. Study previous costumedocumentation Costumedocumentation Study and identify reliable Ethiopian costume information. Design process (Costume books, magazines, photo Articles and case study.) Art and trend reference Concept board Mind map Data collection method Final design illustration. Identify documentation gap. Primary and Secondary data collection Tech pack Pattern making. Data analysis and identify the gap. Garment construction Finalized Raya kobo costume documentation. Contemporary product outfit and documentation. Figure, 3.1: Research methods 32

3.3.1 Concept board Research Board, Inspiration board Theme Board, Mood board, Line Board, Form Board, Motif Board, Color board, Material Board, Client Board Client Profile Conceptual Sketching, Design Board, Story Board, Trims Board and Accessories Board. Art and trend reference Minimalist, organic, rococo, art deco and constructivism. Tech pack Design specification sheet, Bill of material, Garment construction machinery type, Garment Operation break down, Measurement chart And Detail garment cost sheet 3.4. Data collection and Analysis The material and literature is will be taken from different sources like Bahir Dar culture and tourism office, Bahir Dar university Foklor department, Woldia regional administration zone culture and tourism office, books, magazines, electronic journals and websites etc. Moreover, main data will be taken from interviews that will be conducted from Raya Kobo society and typical resource. For that matter I used to primary and secondary data collection method. Primary data collection 3.4.1 Interview Interview information Can you tell me about the Raya kobo traditional costume and current trend casual and special day dressing style? interesting. That is Can you tell me detail name, styles and meaning of men s, women s and kid s traditional dress? What else can you tell me about categories men s, women s and kids wear and the meaning of the cloth? Tell me about detail Raya kobo traditional costume :- Trim, accessories, Make up, tattoo and Traditional perfume 33

Give me example of traditional Trim, accessories, Make up and perfume? Can you explain detail name and description of men s, women s and kids Trim and accessories? Can you tell me detail name, styles and meaning of men s, women s and kid s traditional hair style? Is that possible to identify and know, the marital status, income range, leaving standard, areas and age range by dressing costume and accessories type? Is there any difference in casual and holidays dressing style for both genders? Do you think your countries use domestic cloth production? What do you think about Raya kobo traditional costume cloth? Do you think Raya kobo societies use their own contemporary culture cloth product? From question no 2, if your answer no, why the people did not use their own cloth product. Selected Interviewee person When you select the person, it is directly related to the research. Because the Selected Interviewee recognizes detail information, about the costume and accessories history, the societies are recommend to me and also interview with old Raya kobo mother and father and also Raya kobo culture and tourism administrative expert. Here is specific Selected Interviewee Raya Kobo city old mothers, fathers and grandparents local person Raya Kobo city traditional dancer crew and group leader Woldeya city culture and tourism office expert Kobo district culture and tourism office expert Woldia regional administration zone culture and tourism office Amehara culture and tourism office 34

Kobo old traditional shopping area Generally when we see the interviewee response, Raya kobo one of the most beautiful ethnic group. They have enormous and grace full tradition and culture.raya Kobo society since the ancient till now they have keeping their enormous and precious culture. In that Raya kobo society has their own belief according to their traditional aspects for the sake of holding their cultural cloth, jewelry, hair style, accessory etc. For example when we see the name of detail name, styles and meaning of men s, women s and kid s traditional dress. Men s cloth: - ERBO, GONBISO, DEGE, TIRKE SHOE Women s dress: - TIBKO DRESS, ERBO, MEKENET, TIFTIF, SHIRATO, WASHO SHEMA SHIRATO, MAZEL, and WOMEN S TRIKE SHOE: Categorize men s, women s kids wear, jewelry and accessories, Women s Cosmetics, materials, hair style and the meaning of the cloth. The most obvious identification of the Raya kobo categorize is in the fabric type, embroidery of the traditional dresses, jewelry, accessories and hair styles. Raya kobo, Women s Traditional clothing Raya Women s jewelry, accessories and Cosmetics materials Raya kobo women s hair style Raya kobo men s cloth and jewelry s. Raya kobo Different kind of men s hair style Raya kobo Kids wear costume and hair style Raya Kobo Traditional Events like Epiphany, X-mass, Meskel (finding the true cross) Asterio, Arefa, Mewulid, solel, The name of men s, women s and kid s traditional jewelry, accessories and meanings. 35

Men s jewelry and accessories MAMUWACHA: chehiti, beter, mido (menekesha) znar, kara (chube ): tiyet Women s jewelry and accessories SHEKUAR, WELEBA: GUTCHA: MESKEL: TIMIZE: DENBELE: DECOT: MELEGOME: BIRCUMA: SANKADRI: Women s cosmetics, materials KECHO: YE KUNI KEL: KORI: MUDAYE, WESKEMBIYA: YEJART WELEBA ENSOSELA: NATRA AND ASHKUTI, KELEBET, PLANT SMOKE: - AGELGL, KULE:- MAMUWACHA: Name of men s, women s and kid s traditional hair style. Men s hair style: - GUTENA, AFRO, Women s hair style: - AFESASO, ASA SERET, SHURUBA, DERMEM: GOBEZENA KONJO: kuncho), And GAMENA KARISO ANDE EGERA: GECHA, AKOLKOALO (gamena In Raya kobo there are different traditional event s probably celebrated by the society, Mostly Young man s and girls are celebrate Epiphany, X - mass, meskel (finding of the true cross) Asterio, Arefa and also other event s Wedding, Ashenda (Soled) being celebrated by worn different traditional cloth, accessory, jewelry and also hair style. Especially Solele celebrated in semen Wollo, Raya kobo and woldeya city Ashendeye celebrated in Lalibela, Shadey in Sekota and Ashenda in Tigray. 3.4.2 Observation Photographs and video Visiting the Raya kobo market, shopping, spiritual place Discuss with Bahir dar, Woldeya, Raya kobo cultural and traditional office 36

From observation am gathering different pictures, video, cultural and contemporary design cloth and I observe in the market, shopping area place traditional fabric and motif variation, different men s and women s trim and accessories in detail. At the same time am collecting, original, clear and detail background history about their traditional and culture specified within men s, women s and also kid s attire with the respect to all over their fashion costume. Women s traditional clothing Tibko dress;- The basic form of female clothing was a simple dress called a tibeko dress, this Raya kobo traditional dress which is made from (Bofe) plain fabric, dying within natural butter. ERBO:-White dress which is embellished the edge. Erbo is worn by Raya kobo women s over their dress which is constructed round shoulder. Mekenet: The most basic garment of clothing for Raya kobo working women s is the mekenet s. this mekenet made from plain fabric (Bofe). Long cloth and dyed within butter, which can be worn over dress around waist area and also to tighten their hips for working (Desalegne., 2018, ). Tiftif :- is made from (bofe) or plain fabric which it contains many color full embellishment and that can be worn by single women s which mostly worn during the wedding ceremony (Mesgan, Raya kobo dress, 2018). SHIRATO:- The shirato is identified by its elbow level sleeves, free-fitting chest, tie closures at the side, and basic dress. While the sleeves and hem are similar in the many variations of the shirato tilet. washo shema shirato :- The washo shema shirato has mainly been worn in very traditional Muslim cultures, which often restrict the movement and power of women. Young girls are not required to cover all bodices themselves with a dress. 37

Figure, 3.2: Tibeko dress, Erbo and Mekenet Figure, 3.3: Tiftif, Shirato and Washo shema shirato (Source: - Field research from Raya kobo city) Women s jewelry and accessories Figure, 3.4: Shekuar, weleba, and meskel 38

Shekuar : one of kobo traditional jewelry which it s made from silver or gold worn by Kobo s unmarried and elder ladies on the upper part of their ears. Women often wear special jewelry during their different holyday ceremonies and some Continue to wear this jewelry during the cultural holyday time. Weleba: this kind of accessories made up of silver or gold. The Kobo s ladies decorate their hair by inserting. It is one of the traditional jewelry of Raya Kobo. Meskel : cross has two functions. First it reflects the religious aspect and the second are used for beautification. Mostly Raya women s have on two types of cross. Decot : type of traditional jewelry is made up of either from silver or bronze. Can be worn on hand by married women s in Kobo. It has different kind of thickness. Bircuma:- this particulate material is made from wood and it s used mostly by woman s for slipping, It s like pillow. Sankadri: - this kind of jewelry is made from silver. The Raya ladies wear on their neck like necklace. Is a kind of nick jewelry made from silver and bronze. It is rectangle in size. YE KUNI KEL: - Raya kobo used different kinds of makeup, cosmetics materials to decorate their faces and bodies. Yekuni kele, a light red pigment material, used as a decorative purpose. NATRA and ASHKUTI: - these kinds of plant have green white color, like NATERA, KETENAYU, ASHEKUTI used for a good odder by changing the perfume. it has green and white color (Zenbeche., 2018). Kule:- kule for Raya ladies it is very important type of cosmetic s. in this type of cosmetics raya ladies use for decorate eye skin part and eye brow part 39

Women s jewelry and accessories Figure, 3.5: Decot, Bircuma, Anbar and Sankadri Figure, 3.6: Yekuni kel, kecho, Natrean and Kule Raya kobo women s hair style Figure, 3.7: Gobezena konjo, Ande eger and Shuruba AFESASO : kind of hair style which its express adults of kobo girls and those are not married. Kind of style is formed one line of hair at the middle of their head and by making space of little hair they lay different jewelry on it. 40

SHURUBA (Cornrow): it means in Amharic (MESHOREB ) :- one of many strips of hair twisted together close to the head in thin rows. this kind of hair is very simple and everyone is use this kind of hair style. GOBEZENA KONJO : kind of kobo s women hair style it means highly plump and charming, this style formed one part of the hair is thin and the other one is plump and this kind of style is worn by married women and those who are not old enough (Jemal, 2018). Raya kobo men s cloth and jewelry s Erbo : is a kind of traditional cloth which is made up of mage and bofe white handmade fabric thread) in two ways. GONBISO : a kind a traditional cloth made from BOFE yarn fabric it has very small embellishment at the edge of dress and worn by young men s at all age level. DEGE : is kind of traditional cloth, seated at the waist it s very wide, length cloth the dress length is depending on the person and length of that person. It made from (mage) thread. Mans after wearing the GONBISO. Starting from waist part up to abdomen, chest wearing the cloth by rotating the cloth to the body. TIRKE SHOE : one of KOBO traditional shoe which is made from the skin of oxen, This shoe is decorated by the same oxen skin being woven and twisted together to give more attractive look. MIDO (MENEKESHA): it is a kind of traditional comb. Made from wood and different kinds, which use to tidy and arrange the hair. Most of the time used for Raya kobo young men s for hair styles. As a comb some hair style like: - GUTENA, AFRON (Mola., 2018). Znar, kara (chube ): is made up of iron. It s small in size and it has decorative jewelry in the hand. 41

Raya kobo men s cloth and jewelry s Figure, 3.8: Erbo, Gonbiso and Dege Figure, 3.9: Tirke shoe, Mido (menekesha): and Znar, kara (chube ): Figure, 3.10: Afro and Gutena 42

3.4.3 Secondary data collection Study previous Raya kobo costume documentation Show Documentary video, photo, magazines, FIGURE 3.11: EXISTING RAYA KOBO COSTUME FIGURE, 3.12: EXISTING RAYA KOBO COSTUME BANNER 43

FIGURE, 3.13: EXISTING AMHARA COSTUME When we see secondary data study previous Raya kobo costumedocumentation only focus in the women s costume jewelry and accessories. Men s, kids wear costume and some traditional events are not concluded. Currently Raya kobo culture and tourism used banner for showing the costume pictures but the banner are not clear, in different criteria like complete costume cultural wear it has a gap and also it has not clear description also it is not specific only for costume. The banner explains about agricultural, economical, geographical aspects of the country. In the other way some banner picture has mis understanding concept of the description, cultural cloth design, hair style, and description. Also mixes from the other Amhara regional cultural cloth and accessories. Internet and Library spring-summer-2018-fashion-trends Shifting gears from the streets at leisure boom, there's a prettier, softer mood in the air, and anyone who likes to dress up will be thrilled. Minimalists and tomboys have plenty to choose from too: Next year is trouser-suit and flatshoe heaven. 24 fashion trends for Fall/Winter 2018-2019 44

Easy wear continues to be big, we ll still be wrapping up warm in cozy clothes that make us feel safe, but for 2018 comfort will also mean an eclectic succession of familiar pieces that are also fail-safe in the style stakes. The overall trend might have been towards real clothes that are easy to throw on and a way of dialing seduction down to the everyday, but fashion didn t forget about fun, color and glamour. Next winter will be determined, celebrating individuality and style with a multitude of trends that are dying to be worn. Choose yours. Spring/Summer 2018/19 Fashion Trends: The Only Looks You Need to Know The spring/summer 2018/19 fashion trends are nothing if not bright, bold and really quite beautiful. In fact, it was a show season full of actual fashion moments, and that's not hyperbole. Spring 2018 Fashion Trends from New York Fashion Week: Americana Figure 3.14: Spring 2018 Fashion Trends from New York Fashion Week At the same time am collecting, original, clear and detail background history about their traditional and culture specified within men s, women s and also kid s attire with the respect to all over their fashion costume. 45

Secondary data collection method From secondary data collection am searching and gathering some previous Raya kobo costume-documentation preparing method, and I understand 6 (six) traditional celebration documentary film video. Example Solel Raya kobo 2017 celebration Raya kobo traditional cloth at Bahir Dar university 2008 E.C Raya kobo business and bazar development in 2008 E.C Wollo, bazar and exhibition show Wollo, Raya traditional music dancing and clothing show in epiphany celebration. The remaining data is photograph display and also am discussing with respective Amehara, Woldeya, raya kobo city cultural and traditional administrative office organization expert. When we see the specific Raya kobo video documentary we can observe differences were the result of social,cultural, religion and economic structure, geography, the materials available and all over the back ground of costume. Particularly Clothing, Headwear, Body Decorations, and Footwear through the Ages provide a broad overview of costume traditions of diverse cultures from the existing time to present day. These traditional celebration documentary film video is show condemn to study the fusibility of Raya society s clothes, accessory, jewelry also taking over with their events like Meskel, Solel, Wedding ceremony, Festival s and also Holiday s. 46

3.4.4 Drawback of the existing costume There is no full standard Raya kobo costume documentation. There are no enough descriptive pictures to explain detail the costume background. Various pictures have not detail description and clear process. The existing costume mainly focus only in women s costume, it has a gap in men s and kids costume. Narrow written documentation and enough pictures in traditional event like; - epiphany, X-mass, Meskel (finding the true cross) Asterio, Arefa, Mewulid, Solel, there is no categorize men s, women s, kids, traditional cloth hair style, accessories, trims make up and other traditional event. There is mixing of other cultural cloth costume. there is no sample garment, detail trim and accessories misunderstanding of the pictures and description There are no hard copy photograph pictures, description and wellorganized video documentation. Narrow introduction about the costume benefit and the population size and other important information like culture, tradition, religion SOME SYSTEM OF THE SOLUTION DEVELOPMENT actual existing costume- documentation examine drawback of the existing costume forecasting 2018/19 spring summer collection like silhouette, color, style interview with old Raya kobo mother and father and also Raya kobo culture and tourism administrative expert FINAL SOLUTION Analysis of traditional costume data. Development of design process contemporary women s outfit collection Preparing Raya kobo traditional costume- documentation. 47

CHAPTER FOUR RESULT AND DISCUSSION 4.1 Raya kobo traditional costume name and category Table 4.1: Raya kobo traditional costume name and category Categor y Name of dress Jewelry & accessories Name of Hair style Make up and cosmetics colors WOMEN 'S TIBKO DRESS, ERBO, MEKENET, TIFTIF, SHIRATO, WASHO SHEMA SHIRATO, MAZEL, and WOMEN S TRIKE SHOE: SHEKUAR, WELEBA: GUTCHA: MESKEL: TIMIZE: DENBELE: DECOT: MELEGOME: BIRCUMA: SANKADRI: AFESASO, ASA SERET, SHURUBA, DERMEM: GOBEZENA KONJO: ANDE EGERA: GECHA, AKOLKOALO (GAMENA KUNCHO), AND GAMENA KARISO KECHO, YEKUNI KEL,KORI,MUD AY,WESKEMIY A,ENSOSELA,N ATERAN,ASHE KUTI,KELEBET, AGELGEL,KULL,MAMUWACHA WHITE,B LACK,G REYE MEN'S ERBO, GONBISO, MAMUWACHA: GUTENA, AFRO AND MAMUWACHA, WHITE,B DEGE, TIRKE CHEHITI, NORMAL. CHEHITI,BETE LACK,G SHOE BETER, MIDO R,MIDO,MENKE REYE ZNAR, KARA SHA, (CHUBE ): TIYET KIDS TIBKO DRESS, GUTCHA: GAMEE, GAMENA KULL,NATERA WHITE,B ERBO, MEKENET, MESKEL: Karisa, N,ASHEKUTI LACK,G TIFTIF, SHIRATO, TIMIZE: AKULKUALO,GAMENA REYE DENBELE: KUNCHO DIFFER EPIPHANY, X - AREFA AND ENT MASS, MESKEL ALSO OTHER EVENTS (TRUE CROSS) EVENT S ASTERIO WEDDING, (SOLED) 48

Raya kobo tradition, culture, in terms of fashion costume Ethiopia has a diverse mix of ethnic and linguistic backgrounds. It is a country with more than 80 different ethnic groups each with its own language, culture, custom and tradition. Culture is the system of shared beliefs, values, customer, and behaviors attributed to members of a specific society. The global nature of fashion today requires cultural diversity and adaptability. Some ethnic styles go in and out of fashion, while some become classic or a staple in the fashion world. As a Land of diversity and multi-ethnic state, Ethiopians are justifiably proud of the range of their traditional costumes. The most obvious identification of the different groups is in the fabric type, embroidery of the traditional dresses, jewelry, accessories and hair styles. Raya kobo one of the most beautiful ethnic group. They have enormous and grace full tradition and culture.raya Kobo society since the ancient till now they have keeping their enormous and precious culture. In that Raya kobo society has their own belief according to their traditional aspects for the sake of holding their cultural cloth, jewelry, hair style, accessory etc. In this paper an attempt is made to study, identify and documenting the historical and traditional clothing and Costumes, present them to the academic community through establishing national resource Centre at EiTEX on Rich Ethiopian Culture by using Fuzzy Relational Maps. 4.2 Background of Raya Kobo Raya Kobo is a town in northern Wollo Ethiopia. Located in the north Wollo Zone of the Amhara Region, this town has a longitude and latitude of 12 09 N 39 38 E with an elevation of 1468 meters above sea level. It is the administrative center of Kobo woreda. Kebele 4 and werda 43. Kobo is located on the Addis Ababa- Adigrat highway, 189 kilometers south of Mekele. A road from Kobo west to Lalibela has existed since the 1930s. 49

The neighboring country from north is Tigray region from south Guba Lafto (Woldya Hibrumersa), from west Gdan wereda and from east afar region kelwa city. Towns in Kobo include Gobiye, Kobo and Robit (Kobo Robit). Country Region Zone Elevation Total Time zone Ethiopia Amhara Region north Wollo Zone (Raya Kobo) 1,468 m (4,816 ft) 36,147 (estimate) EAT (UTC+3) The landscape of this woreda is characterized by a broad fertile plain which is separated from the lowlands of the Afar Region by the Zobil Mountains, which are over 2000 meters high. In general, the altitude of Kobo ranges from 1100 meters on the plains to slightly more than 3000 meters above sea level along the border with Gidan. Kobo, as well as the other seven rural woredas of this Zone, has been grouped amongst the 48 woredas identified as the most drought prone and food insecure in the Amhara Region. This town has an estimated total population of 36,147 of who 18,552 are men and 17,595 women. ] The 1994 census reported this town had a total population of 20,788 of whom 9,761 were men and 11,027 women. Most of raya people live in the work of agrarians. They have different kinds of enormous traditional cloth, jewelry and accessories. 50

4.2.1 Raya kobo, Women s traditional clothing Women s dress Tibko dress : The basic form of female clothing was a simple dress called a tibeko dress, this Raya kobo traditional dress which is made from (Bofe) plain fabric, dying within natural butter. There are two different type of TIBKO dress the first one is white dress, the other is known as MAYMAYE dress which it s made by twisted within natural butter and it became color dark gray. Figure, 4.1: Tibko dress (Source: - Field research from Raya kobo city) Erbo: the single most distinctive and important garment worn by women throughout the costume of Raya kobo is the Erbo dress, along bofe dress.this kind of traditional cloth made from plain fabric (Bofe). White dress which is embellished the edge. Erbo is worn by Raya kobo women s over their dress which is constructed round shoulder. It is a rectangle of cloth, sewn along one side, with one or two edge light gray tilet design. Figure, 4.2: Erbo dress (Source: - Field research from Raya kobo city) 51

Mekenet : The most basic garment of clothing for Raya kobo working women s is the mekenet s. this mekenet made from plain fabric (Bofe). Long cloth and dyed within butter, which can be worn over dress around waist area and also to tighten their hips for working. It has embellishment at the edge of the cloth. MEKENET usually worn, when a women is going to market. Especially used for shopping purposes where it is used to hold their money in it. Figure, 4.3: Mekenet Tiftif : is made from (bofe) or plain fabric which it contains many color full embellishment and that can be worn by single women s which mostly worn during the wedding ceremony. The Tiftif has mainly been worn in very traditional Raya cultures, which has short sleeve and v neck style with full length dress. Figure, 4.4: Tiftif dress (Source: - Field research from Raya kobo city) 52

4.2.2 Raya kobo Women s jewelry, accessories and Cosmetics materials Women s jewelry and accessories Women wore more jewelry than men. During the Raya Kobo costume women adorned their hair with different hair style by using butter and other trim and material, different neck less, ear ring and bracelet worn over their wrist and biceps hand, upper and lower part of the ear, leg and other bodies part in the time of holydays, wedding ceremony, Solele and other special ceremony time. Women s feet were adorned with elaborate jewelry, including toe rings and anklets. Women wore jewelry daily, but wedding and holly day ceremonies required the most decoration. Jewelry signifying a woman s married status is very important in Raya kobo culture. Shekuar : one of kobo traditional jewelry which it s made from silver or gold worn by Kobo s unmarried and elder ladies on the upper part of their ears. Women often wear special jewelry during their different holyday ceremonies and some Continue to wear this jewelry during the cultural holyday time. Figure, 4.6: Weleba Figure, 4.5: Shekuar (Source: - Field research from Raya kobo city) Weleba: this kind of accessories made up of silver or gold. The Kobo s ladies decorate their hair by inserting. It is one of the traditional jewelry of Raya Kobo. On the top of the weleba it has different kinds of color thread for decorative and functional purpose. (Source: - Field research from Raya kobo city) 53

Gutcha: - is made from silver and gold, which it is small in size and flat in shape. Kind of jewelry which can be worn under the lower part of the ear. It is white and bright gold in color. Meskel : cross has two functions. First it reflects the religious aspect and the second are used for beautification. Mostly Raya women s have on two types of cross. The first one is big in size and the other is small in size and use like nick less. Which made up of silver and bronze? Any range of Women use small type of the cross. Timize:- is a kind of neck jewelry made from silver and bronze. It is small in size. It used to contain black, violet, and red thread colors. This accessory is worn by all Raya ladies at any age range. This accessory is worn by married or unmarried women s at any status range. Denbele : kind of jewelry made up of either copper or silver. Its circular in shape incorporated with a hole in the middle. DENBLE, most of the time has black, violet and red thread color to be tied on the nick, used as like nick less. Most of the time this jewelry is worn by kids and unmarried women are; however, married and older women s can wear. Decot : type of traditional jewelry is made up of either from silver or bronze. Can be worn on hand by married women s in Kobo. It has different kind of thickness. 54

4.2.3 Women s cosmetic s, materials KECHO: is made of plant, and it has different embellishment, like different color thread, beads, line painting design. Most of Raya ladies used as a traditional bottle for drink milk and yogurt. Figure, 4.7: Kecho ( YE KUNI KEL: - Raya kobo used different kinds of makeup, cosmetics materials to decorate their faces and bodies. Yekuni kele, a light red pigment material, used as a decorative purpose. These traditional materials made from small calabash which their beauties use for beads Kuni. This traditional carrier holding by Kobo beauty girl s at the time of their wedding ceremony. It s taking as a gift from their spirit mother/own mother. Figure, 4.8: Ye kuni kel (Source: - Field research KORI: it is kind of Raya women s accessories, decorate by DIBA & ZAGOAL. The place of putting natural Raya kobo butter, made from wood. At the market day Raya ladies use as a decorative jewelries. Figure, 4.9: Kori (Source: - Field research from Raya kobo city) 55

4.2.4 Raya kobo women s hair style AFESASO : kind of hair style which its express adults of kobo girls and those are not married. Kind of style is formed one line of hair at the middle of their head and by making space of little hair they lay different jewelry on it. Figure, 4.10: Afesaso ASA SERET : kind of hair style which it has fish arrangements and its formation is there is two plump hair at the middle and surrounded by thin hair style this hair style worn by tin agers and kobo women s. Figure, 4.11: Asa seret (Source: - Field research from Raya) kobo city) SHURUBA (Cornrow): it means in Amharic (MESHOREB ) :- one of many strips of hair twisted together close to the head in thin rows. this kind of hair is very simple and everyone is use this kind of hair style. Figure, 4.12: Shuruba (Source: - Field research from Raya kobo city) 56

4.2.5 Raya kobo men s cloth and jewelry s The Raya kobo young boy s wear the embellishment part by using inside place by changing the embellishment direction in to down. The difference between two kinds of style, that means changing the embellishment part in to down from top to down part and without changing the embellishment.changing part it is part of heroin a different thing and famous thing to do it. In the other condition normal embellishment use means it is not hero in battle and just a simple person and this kinds of cloth wear by old man s, that transfer the message to judge the other persons and telling that the age part. GONBISO : is a kind a traditional cloth made from BOFE yarn fabric it has very small embellishment at the edge of dress and worn by young men s at all age level. The young boy s wear the embellishment part by using inside place by changing the embellishment direction in to down. The difference between two kinds of style, that means changing the embellishment part in to down from top to down part and without changing the embellishment.changing part is its is part of heroin a different thing and famous thing to do it. In the other condition normal embellishment use means it is not hero in battle and just a simple person and this kinds of cloth wear by old man s, that transfer the Message to judge the other persons and telling that the age part. Erbo : is a kind of traditional cloth which is made up of mage and bofewhite handmade fabric thread) in two ways the first one is white color erbo decorate with yarn fabric at the edge dress. The second one is Mostly dye within butter and worn by young boy s in the different occasion like wedding ceremony and others holyday. DEGE : is kind of traditional cloth, seated at the waist it s very wide, length cloth the dress length is depending on the person and length of that person. It made from (mage) thread. Mans after wearing the GONBISO. Starting from waist part up to abdomen, chest wearing the cloth by rotating the cloth to the body. 57

Functions of the DEGE cloth - When they are in the desert - For tired time it helps for waist part by overlap the cloth - Protecting their body from knife and bullet - In addition it worn on wedding ceremony and in holiday and it is used for keep their money. Figure, 4.13: Dege TIRKE SHOE : one of KOBO traditional shoe which is made from the skin of oxen, This shoe is decorated by the same oxen skin being woven and twisted together to give more attractive look. They had a base that was made of oxe skin; they were held to the foot by two straps, one of which crossed the arch of the foot and the other that went from the arch strap between the big toe and the second toe. Figure, 4.14: Tirke shoe 58

MAMUWACHA: -made from WEYAERA MEWATA, KITKITA, and others trees. In raya s all of the regions kind of tree used for cleaning the teeth like a teeth brush and for decoration. 4.2.6 Raya kobo men s hair style GUTENA: - one of kobo traditional hair style worn by Youngman s. Tidy and arrange their hair by means of butter. And kind of hair style represent as the person is brave man in the society and also it has different variation style. AFRO: - this kinds of hair style most of the time specified within kobo boy s away of arranging the hair so that it is very thick, Curly and has a rounded shape. 4.2.7 Raya Kobo s kid s fashion costume and hair style In Raya Kobo society, traditional kid s cloth is made from handmade fabric which is called Tiftefe, this traditional cloth which is formed from bofe or handmade fabric and many colorful thread, embellishments are contain. Most of the time for kid s wear used same type of design, in that Young boys and girls worn kind of cloth. 59

4.2.8 Raya Kobo traditional Events In Raya kobo there are different traditional event s probably celebrated by the society, Mostly Young man s and girls are celebrate Epiphany, X - mass, meskel (finding of the true cross) Asterio, Arefa and also other event s Wedding, Ashenda (Soled) being celebrated by worn different traditional cloth, accessory, jewelry and also hair style. they have on different make up s named Ensosela, Natera, Ashekuti for adding value and use accessory and jewelry for their hair, hand, neck, ear etc. Generally they are dressed in different kind of jewelry, accessory, make up for the sake of enhancing their beauty. Those are: - Shekuwar, Weleba Gutcha, Sankadri, Timeze, Denbele, Mesekel Di`cot, Ring, Albo,Kul, Ashekuti, Natra, Narge, Kori, Bolekeya, Berkuma and Dri. 4.2.9 Wedding ceremony Every society has its own wedding ceremony regarding to their tradition aspect. In that Raya kobo society wedding ceremony the grooming and braid has their own traditional dress which it is explore their precious traditional background. Raya grooming worn during his wedding ceremony full of their traditional cloth with different kind of jewelry, accessory and hair style.those are Erbo, Gonbiso, Tirke shoe, Cheti. For the brides maids In raya kobo society wedding ceremony as grooming, brides has there is style of wearing traditional dress, accessory and hair style Tibeko dress, Mekenet, Tefetef, Shireto, Triko, Accessory: - Shekuar, Weleba, Gutecha, Decot. 60

4.3 Product Development 4.3.1 Fashion Design Process FIGURE, 4.15: Inspirations picture FIGURE, 4.16: Research Board 61

FIGURE, 4.17: Inspiration Board FIGURE, 4.18: Theme Board 62

FIGURE, 4.19: Mood Board FIGURE, 4.20: Line Board 63

FIGURE, 4.21: Form Board FIGURE, 4.22: Motif Board 64

FIGURE, 4.23: Color Board FIGURE, 4.24: Material Board 65

FIGURE, 4.25: Client Board and Profile Demographics CLIENT PROFILE Psychographics Age: 18-26 Gender: female Education Level: first degree Occupation: different organization Hometown: Raya kobo Living Situation: medium Household: 3-5 family Physical Characteristics:-normal body mass Hobbies: travel, reading book Interests: music, fashion and media Motivation: fast fashion design Spending habits: medium Attitude: new trend lover Personality: young and easy life style Behavior: emotional behavior Social Cultural Dimension Language: - Amharic Law and politics: different politics member Religious: different religious Social organization: medium Life style and value: very active for trying new thing. 66

FIGURE, 4.26: Conceptual sketching Board FIGURE, 4.27: Conceptual sketching Board 67

FIGURE, 4.28: Design Board FIGURE, 4.29: Design Board 68

FIGURE, 4.30: Story Board FIGURE, 4.31: Trim Board 69

FIGURE, 4.32: Accessories Board TECH PACK Design specification sheet Design and description Bill of materials Spec measurement sheet Operations break down Cost sheet 70

Design one SPECIFICATION SHEET Table 4.2: design one specification sheet Design one (look one) Date April /18 /2018 DESIGNER Solomon Tsegaye STYLE 001/2018FD OO1 DESCRIPTION unique strapless top dress, knee length torso, flared lower dress, it has embroidery below the dress part and it has thin tilet design on the waist circumference, white and grey color FABRICATION (Bofe) plain fabric, Raya Kobo traditional fabric FABRIC WEIGHT medium SPECIAL FINISHES softener finish and trimming embroidery design BUYER Ethiopian women s PROTO SIZE normal LABEL Ethiopis design SEASON Spring summer 2018/19 SIZE/GENDER Girls 18-26 CATEGORY occasionally and special time 71

DESIGN ONE AND FLAT SKETCH Table 4.3: Design one and flat sketch Style number 001/2018FD OO1 Design / look one Description unique strapless top dress, knee length torso, flared lower dress, it has embroidery below the dress part and it has thin tilet design on the waist circumference, white and grey color inspiration Meskel (true cross) Design one front and back flat sketch Season Spring-summer Fabric type (BOfe) plain fabric Pattern Pisces Front part, Back,sleeve and top part panel Trims Button, thread, elastic Accessories Bag and shoe Category special time COLOR White and red Final Design 72

BILL OF MATERIAL Table 4.4: design one bill of material ITEM TYPE/ PLACEMENT MATERIAL COMPOSITI ON QUANTI TY/ UNIT CLOUR COST Birr/m fabric: (Bofe) plain fabric Over and below the dress part. Over and below part full clothing. 2MTR white 200birr Lining 1 1/2mtr white 80 birr Trims elastic thread, zipper, and soft inter lining Sleeve and hem part, zipper part collar Polyester & cotton. fabric Red white 55 birr labels medium size Ethiopis design Body center black label to folded stitched final SIZE 1 /1.5 Cotton & polyester For each close black & white 5 birr button Centre back 1 white for decorative and functional purpose Threads All part polyester red normal sewing label & overlook part zipper :- from center back the waist to At the side place. Polyester 1 zipper white 5 birr 73

SPEC MEASUREMENT SHEET Table 4.5: spec measurement sheet CIRCUMFERENCE MEASURMENT Model 1 Model 2 Model 3 (EASE ) ABDOMEN 311/2 36 2/4 32 BUST 33 2/8 38 33 2/8 WAIST 25 29 1/2 27 1/2 HIP 38 1/2 42 2/8 39 VERTICAL MEASURMENT CENTER FRONT TO KNEE L 37 37 1/2 37 Back 139 1/4 40 1/2 38 1/2 FULL LENGTH BACK FRONT 17 3/4 18 17 2/8 SHOULDER SLOPE BACK FRONT 17 1/4 17 1/8 18 5/8 18 5/8 17 1/4 17 1/8 SIDE LENGTH 8 1/2 9 2/8 8 2/8 SIDE HIP DEPTH 10 11 1/2 10 WAIST TO HIP 10 11 10 WAIST TO KNEE 23 1/2 23 1/2 25 WAIST TO FLOOR 23 21 1/2 22 HORIZONTAL MEASURMENT BUST DEPTH 3 1/2 4 1/2 3 4/8 74

Operations break down (Design one) Table 4.6: Operations break down (Design one) s.no Garment part Seam class Stitch class Machine required 1 Top Out part Super imposed 516 safety stitch 2 Sleeve part Top stitch 301 lock stitch 3 Side seam Lapped stitch 501 safety stitch Normal sewing Lock stitch Lock stitch 4 Front part lining Super imposed 301 lock stitch 5 Back part lining Top stitch 301 lock stitch Normal sewing 6 Waist band Top stitch 301 lock stitch 7 Hand Embroidery hand stitch 9 All part overlook 5 thread Overlook FIGURE, 4.33: Design one pattern 75

Cost sheet No Style name/no Design ONE COST SHEET Table 4.7: design one cost sheet 001/2018FD OO1OO1 Material Material Estimate Actual Cost /m (Bofe) plain fabric 2 M 2 M 400 BIRR/M Lining 1 ½ M ½ M 140 BIRR Trimming Total fabric cost quantity Cost / pieces Actual cost Elastic thread 1 spun 3 birr 540 birr Embroidery thread 5 BIRR Sewing thread 1 spun 5 birr Total trimming cost 13 birr Labor cost Activity Time/hr./min Cost/min Total cost marking cost 15 min 1 birr 15 birr cutting cost 25 min 1 birr 25 birr Trim and hand embroidery 10 min 60 birr 60 birr sewing cost 3 hr. 50.5 birr 151.5 birr Direct cost = 540 + 13 + 251.5 = 804.5 birr Total labor cost 251.5 birr overhead cost (Indirect cost) direct cost 10% 80.45 birr Package 1 birr Production cost All direct cost plus overhead 886 birr Mark up (%) 25 % of the total garment 221.5 birr selling price = 39.55$ 1,107 birr 76

FIGURE, 4.34: final design one look 77

Design Two SPECIFICATION SHEET Table 4.8: design two specification sheet Design two (look two) Date April /19 /2018 DESIGNER Solomon Tsegaye STYLE 19-04-fd-002 DESCRIPTION Full length strapless dress, red convertible top style, It has fire design motif embroidery dress, white color traditional fabric (bofe fabric) it has embroidery at the hem dress part and it has thin tilet design on the waist circumference, white color FABRICATION (bofe) plain fabric Ethiopian traditional fabric FABRIC WEIGHT medium SPECIAL FINISHES softener finish and trimming embroidery design BUYER Ethiopian women s PROTO SIZE normal LABEL Ethiopis design SEASON Spring summer 2018/19 SIZE/GENDER Girls 18-26 CATEGORY occasionally and special time 78

DESIGN 2 AND FLAT SKETCH Table 4.9: design 2 and flat sketch Style number 002/2018FD OO2 Design / (look two) Description Full length strapless dress, red jano fabric style, It has fire design motif embroidery dress, white color traditional fabric (bofe plain fabric) it has embroidery at the hem dress part and it has thin tilet design on the waist circumference, white color inspiration Meskel (true cross) Front and back design 2 flat sketch Season Spring-summer Fabric type (Bofe) plain fabric Pattern Pisces Front part, Back and top panel part Trims Button, thread, elastic Accessories Bag and shoe Category special time COLOR White and red Final Design 79

BILL OF MATERIALS (Design Two) Table 4.10: bill of materials (design two) ITEM TYPE/ PLACEMENT MATERIA L / COMPOSI TION QUANTI TY/ UNIT CLOUR COST Birr/m fabric: (bofe) plain fabric Lining Full dress part Over and below part full clothing. 2.5MTR 1 1/2mtr ½ Mtr white white red 100birr 80 birr 60birr Tilet Trims button, & elastic thread, zipper, and soft inter lining center back hem part, zipper part Polyester & cotton. Buttons Zipper fabric Red white labels medium size Ethiopis design Body center black label to folded stitched Cotton & polyester For each close black & white 5 birr or decorative and functional purpose Centre back 1 white normal sewing label & overlook part All part polyester red 10 zipper :- from center back At the side place. Polyester 1 zipper white 5 birr Accessories traditional leather shoe & panama at For head and leg placement black and white 80

OPERATIONS BREAK DOWN (Design Two) Table 4.11: operations break down (design two) s.no Garment part Seam class Stitch class Machine required 1 Top (jano)tilet part Super imposed 516 safety stitch Normal sewing 2 Upper torso Top stitch/ Super imposed 301 lock stitch Lock stitch 3 Side seam Super imposed 516 safety stitch Lock stitch 4 Front part lining Super imposed 301 lock stitch Lock stitch 5 Back part lining Top stitch 301 lock stitch Normal sewing 6 Waist band tilet Top stitch 301 lock stitch 7 Embroidery hand stitch 8 All part overlook 5 thread Overlook FIGURE, 4.35: Design two pattern 81

COST SHEET DESIGN 2 Table 4.12: cost sheet design 2 Cost sheet No Style 002/2018FD OO2 Material Material Estimate Actual Cost /m (bofe) plain fabric 2 M 2 M 200 BIRR Tilet ½ m ½ m 60birr Lining 1 ½ M ½ M 140 BIRR Total fabric cost Trimming quantity Cost / pieces Zipper 1 5 birr Embroidery thread 400 birr Actual cost 20 BIRR Sewing thread 1 spun 5 birr Labor cost Total trimming cost 30 birr Activity Time/hr./min Cost/min Total cost marking cost 15 min 1 birr 4.5 birr cutting cost 25 min 1.5 birr 7.5 birr hand embroidery 3 hr 150 birr/hr 450 birr sewing cost 2 hr. 75.5 birr 151.5 birr Direct cost = 400 + 30+ 613.5 =1,043.5birr Total labor cost 613.5 birr overhead cost = Package = Indirect cost direct cost 10%= 104.3 birr 1 birr Production cost All direct plus indirect cost of design 1,149 birr Mark up (%) 25 % of the total garment 287 birr selling price = or 51.2 $ 1,436 birr 82

FIGURE, 4.36: Final Design two look 83

Design Three SPECIFICATION SHEET Table 4.13: design three specification sheet Design Three (look Three) Date April /20/2018 DESIGNER Solomon Tsegaye STYLE 20-04-fd-003 DESCRIPTION Knee length flared design torso, tilet strap wide dress, It has tilet design motif hand embroidery dress, white color traditional fabric ((Bofe) plain fabric) it has embroidery at the side dress part and it has tilet design on the center front and back design part, white color FABRICATION (Bofe) plain fabric, Ray kobo traditional fabric FABRIC WEIGHT medium SPECIAL FINISHES softener finish and trimming BUYER Ethiopian women s PROTO SIZE normal LABEL Ethiopis design SEASON Spring summer 2018/19 SIZE/GENDER Girls 18-26 CATEGORY occasionally and special time 84

DESIGN THREE AND FLAT SKETCH Table 4.14: Design three and flat sketch Style number 003/2018FD 003 Design / look three Description Knee length flared design torso, tilet strap wide dress, It has tilet design motif hand embroidery dress, white color traditional fabric ((Bofe) plain fabric) it has embroidery at the side dress part and it has tilet design on the center front and back design part, white color inspiration Meskel (true cross) front and back design 3 flat sketch Season Spring-summer Fabric type (Bofe) plain fabric, Ray kobo traditional fabric Pattern Pisces Front part, Back and strap Trims thread, elastic Accessorie s Bag and shoe Category special time COLOR White and red 85

BILL OF MATERIALS (design 3) Table 4.15: bill of materials (design 3) ITEM TYPE/ PLACEMENT MATERIAL / COMPOSITIO N QUANTI TY/ UNIT CLOUR COST Birr/m fabric: (Bofe) plain fabric Knee level dress part torso full part clothing. 1.5MTR 1 1/2mtr silver white 100 birr 80 birr Lining Tilet 2 Mtr different 30birr Trims &elastic thread, zipper, and soft center back hem part, zipper part Polyester & cotton. Buttons Zipper fabric Red white labels medium size Ethiopis design Body center black label to folded stitched Cotton & polyester For each close black & white 5 birr Threads All part polyester red 12 label & overlook part zipper :-from center back the waist to At the side place. Polyester 1 zipper white 10 birr Accessories traditional leather shoe & panama hat For head and leg placement black and white 86

OPERATIONS BREAK DOWN (design 3) Table 4.16: operations break down (design 3) s.no Garment part Seam class Stitch class Machine required 1 Strap part Super imposed 516 safety stitch Normal sewing 2 Front torso with tilet Top stitch/ Super imposed 301 lock stitch Lock stitch 3 Back torso with tilet Top stitch 301 lock stitch Lock stitch 4 Front part lining Super imposed 516 safety stitch 5 Back part lining Top stitch 301 lock stitch Lock stitch Normal sewing 6 Side seam Top stitch 301 lock stitch 7 All part overlook 5 thread Overlook FIGURE, 4.37: Design three pattern 87

Cost sheet No Style name/no COST SHEET (DESIGN 3) Table 4.17: cost sheet (design 3) 20-04-fd-003 Material Material Estimate Actual Cost /m (Bofe) plain fabric 1 1/2 M 1 1/2 M 150 BIRR Tilet 2 m 2 m 60 birr Lining 1 1/2 M 1 M 70 BIRR Total fabric 280 birr Trimming quantity Cost / pieces Actual cost Over lock thread 1 spun 5 birr Strap tilet 30 BIRR Sewing thread 1 spun 5 birr Labor cost Total trimming cost 40 birr Activity Time/hr./min Cost/min Total cost marking cost 15 min 1 birr 15 birr cutting cost 25 min 1 birr 25 birr Trim and finishes Ironing 15 min 0.5birr 7.5 birr 1.5 birr sewing cost 1hr. 90 birr 90 birr Total labor cost 139 birr Direct cost = 280 + 40+ 139 = 459 birr overhead cost Indirect cost 10% 45.9 birr Package Production cost 1 birr 506 birr Mark up (%) 25 % of the total garment 126.5 birr Slling price 22.5 $ 632.5 birr 88

FIGURE, 4.38: Final design three 89

4.3 Summary of the research finding The predominant purpose of this study was to critically analyze and identify Raya Kobo traditional costume also documentation of resource and design development of contemporary women s collection. With regards to promoting the diverse culture of Amhara region. This will help the researcher to some extent find out the role of costume documentation in promoting culture of costume. Primary Data were collected to address the research problem posed in the first chapter of this research. Observation and Interview Questionnaires information was distributed to in Weldeya city and Raya kobo original place. The secondary data collected Bahir Dar city culture and tourism office, Woldeya city culture and tourism office, Raya kobo field research, culture and tourism office and traditional music group leader and members. In our country we are immerging to this big industry, yet exclusively do not have written documents concerning our traditional fashion costume. In order to launch the fashion industry in Ethiopia it should be on the bases of Ethiopian traditional cloths. Beyond this research studying all over the background and knowing current trend to have the relevant data and Categorize Men s, women s, kids and occasion Raya kobo costumedocumentation and also achieve develop contemporary design collection in order to solve and fulfill the gap. For that matter i prepared prototype in north Wollow, Raya Kobo traditional cloth, jewelry and accessories. It helps to condemn the sample for the sake of establishing all over the entire Amhara Region fashion costume. Generally, with regards to Raya Kobo traditional costume also documentation, how the costume important, and help full, what the opportunities and challenges of the research are discussed in the previous chapter. based on the findings, the researchers come up with the following conclusions. 90

CHAPTER FIVE CONCLUSION AND RECOMMENDATION This chapter provides the Conclusion and recommendation of the study followed by some possible references. By employing mixed research methodology this study attempts to analyze the overall content of documentation and design development of contemporary women s collection through a study and analysis of Raya kobo traditional costume. 5.1 CONCLUSION Every country in this world has its own traditional Cultural dress and fabrics. The role and nature of textiles in any society are both pervasive and diverse, for textiles serve everyone in many ways. Textiles and fashion are created to serve the daily and ceremonial needs. Every Ethiopian ethnic group has a long history of traditional Cultural dress and fabrics manufacturing that are endowed with profound national culture up to this date. The traditional clothes are made with culture-based cloth that represents Ethiopians sense of pride and dignity. In this Raya Kobo fashion costume significant research is figure out their tradition and culture based beyond their background of life style which it s verify their enormous tradition. They have original, clear and detail background history about their traditional and culture specified within men s, women s and also kid s attire with the respect to all over their fashion costume. Also this research clarify and analyze detail about current trend Raya Kobo costume, Categorize Men s, women s, kids and occasion Raya kobo costumedocumentation, the limitation on cultural costume documentation and to give solution, develop contemporary women s design collection and develop detail product design process technique portfolio like concept board, art reference, trend reference also conclude tech pack. This documentation combined Kobo traditional and cultural fashion attire within written information combine with the current situation s information by incorporated the right pictures and videos from the origin being the right place. 91

The research is definitely leads to the feasibility of Raya kobo society s clothes, accessory, jewelry also taking over with their events like meskel (finding the true cross), epiphany, x-mass, arefa, mewuld, Sosele, Wedding ceremony, Festival s and also Holliday s. It has main advantages for our country in different aspect. Different governmental office, like Amhara Region culture and tourism office is beneficiary in terms of develop clear costume documentation portfolio. Raya kobo peoples understand and know the clear costume attire type and meanings of that clothe also have documentation book. It is very important aspect for tourism to announce and promote our cultures for the rest of the world, by using museum gallery. We can get acceptance in National and international communities and organizations. Researchers and students will benefit from this project to work with the collection and supporting lecture and seminar programs. In terms of teaching, learning and research aspects. Finally our study is a good prototype to influence others way of Amhara regional state traditional clothes, jewelry, accessory and also hairstyle costume documentation. 5.2 Recommendation Based on the results of the findings and conclusions gathered, the researcher would like to recommend the following: When I observe in Raya kobo city, I saw different costume attire and typical accessories but in the city culture and tourism office there is no any tangible resource and document for that matter it is very difficult to study and to show for the others visitors. In this case Researcher recommend collecting all previous costume documents and putting together in the costume gallery place, for the future of the time. Raya Kobo city culture and tourism is recommended to make programs for the peoples about the existing culture and costume with good 92

quality of presentation and invite different organization to promote the culture and build a good image about Raya kobo costume. Fashion designers inspired from everything, for designing new type of attire. For example inspired by film, nature, music, building, historical and others kind of book.so in this case every student we can use this Raya kobo costume Documentation as in inspiration, for traditional collection or contemporary design collection in different gender category age range. Researcher recommends it is possible and better way to design men s, women s and kids wear collection for the next season. In the other way I will recommend for costume designers to use this costume documentation in the film industry related to the character dress selection and events. Know a days, In our country There is no documentary video clip in terms of cultural costume attire, accessories, hair style, make up and traditional perfume. So it is better and more advanced way of keeping our cultural costume. So I recommend doing this costume documentary video for the other researchers, in terms of cultural costume aspects. 93

Reference About us :Amhara National Regional State Culture & Tourism Bureau. (2017, october 24). Retrieved 03 09, 2017, from 2merkato.com/tenders/companies/view/3082: https://www.2merkato.com/tenders/companies/view/3082 about us: Ethiopian culture. (2017, june 14). Retrieved 12 12, 2017, from Ethiopian culture website: http://www.selamta.net/culture.htm author Ahmed, K. M. ( 2017). Clothes and Ethnic Identity:(re)constructing identity through Cultural Clothes as Ethnic Markers the case of Siltie Nationality of Southern Ethiopia. University of Norway: Faculty of Humanities, Social Science and Education. Barthes, Roland. (2004). The Language of fashion. France: Bloomsbury Academic. Bingeham, J. ( 2016). The Ancient World (Historey of fashion and Costume). New York: facts on file. Blanche, & Winako. (1992). The History of costume:. New York: HarperCollins. Contini,,. M. (1965). Fashion: From Ancient Egypt to the Present Day.. New York:: Odyssey Press. Cosgrave,,. B. ( 2000.). The Complete History of Costume and Fashion: FromAncient Egypt to the Present Day. New York: Checkmark Books. David, S., Johanna, B., Frank, L., & Lutz, E. (2012). A Pattern Language for Costumes in Films. Institute of Architecture of Application Systems, 7. Deborah Nadoolman Landis. (2014). costume designinstructional guide. Desalegne. ( 2018,, 03 23). Raya kobo trimes and accessories. (solomon, Interviewer) Entwistle, J., & Wilson, E. ( 2010). Body dressing: (Dress, Body, Culture). London: London College of Fashion. 94

Freeman, D., & pankhurst, a. (2003). PERIPHERAL PEOPLE -THE EXCLUDED MINORITIES OF ETHIOPIA. London. Hill, D., & Eicher, J. (prentice hall 2010). History of world costume and fashion series. virginia: common wealth university. Hofverberg, H. (2010). Dorze Weaving in Ethiopia. uppsala univerites. HOUSTON, M. G., & FLORENCE S., H. (1920). ANCIENT EGYPTIAN ASSYRIAN AND PERSIAN COSTUMES AND DECORATIONS. LONDON,. Hudson, J., & Spring, C. (1995). North African Textile. London British Museum press. Jemal. (2018, 03 16). RaYA Kobo hair style. (solomon, Interviewer) JOSEPH-ARMSTRONG, H. (2010). PATTERNMAKING FOR FASHION DESIGNER. United States of America: Prentice Hall. Klemm, P. M. (n.d.). Fashioning history :women's costumes from EasternHararghe, 1850-1886. Emory University: XIV International Conference of Ethiopian Studies, VOL 1. last, j., & donovan, n. (2005). Ethiopian costume. Addis Ababa: Ethiopian tourism commision. Mesgan. (2018, 03 11). Raya kobo dress. (solomon, Interviewer) Mesgan. (2018, 03 08). Raya kobo costume. (SOLOMON, Interviewer) Mola. (2018, 03 17). mens costume. (solomon, Interviewer) Pendergast, S., & Pendergast, T. (2004). Fashion, Costume, and Culture: Clothing, Headwear, Body Decorations,and Footwear through the Ages. United States of America: Rita Wimberley volume 5. Racinet.A. (1988). The Historical Encyclopedia of Costumes. New York: Facts on File,. sara, p., & Tom, p. (2004). Fashion, Costume, and Culture: Clothing, head wear, Body Decorations. United States of America. 95

Silverman A. (1999). Traditions of Creativity. ETHIOPIA: University of Washington Press. THAMES, & Hudson. (1998). COSTUME AND FASHION A CONCISE HISTOREY. New York,: Dries l/al'/notell and Fashiol'/. Zenbeche. (2018, 03 11). Raya kobo hair style,. (SOLOMON, Interviewer) Zenbeche. ( 2018, 03 08). Traditional perfume. (solomon, Interviewer) 96

APPENDICES/SUPPLEMENTARY Interview information Full name Gender male / female. Age.. Purpose of the interviewee The main purpose of this study is to figure out and studying the Raya Kobo people cultural costume, accessories and current trend. Knowing people s reflection and reaction regarding the costume is a main objective of this project. Can you tell me about the Raya kobo traditional costume and current trend casual and special day dressing style? That is interesting. What else can you tell me about categories men s, women s and kids wear and the meaning of the cloth? Tell me about detail Raya kobo traditional costume :- Trim and accessories Make up, tattoo Traditional perfume Give me example of traditional Trim, accessories, Make up and perfume? Can you explain detail name and description of men s, women s and kids Trim and accessories? Can you tell me detail name, styles and meaning of men s, women s and kid s traditional hair style? Is there any difference in casual and holidays dressing style for both genders? Is that possible to identify and know, the marital status, income range, leaving standard, areas and age range by dressing costume and accessories type? Do you think your countries use domestic cloth production? What do you think about Raya kobo traditional costume cloth? Do you think Raya kobo societies use their own contemporary culture cloth product? From question no 2, if your answer no, why the people did not use their own cloth product. 97

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