INTERNATIONAL JOURNAL OF RESEARCH AND SCIENTIFIC INNO V A T ION (IJRSI)

ISSN No. 2321-2705 | DOI: 10.51244/IJRSI |V o lume XI Issue III March 2024

Aba, Abia State, Nigeria’s Innovative and Interactive Fashion

Houses: The Case of Inadequate Facilities for the Growth of the

Fashion Industry inAba, Abia State, Nigeria

Onwuliri Nkonye C., Obiadi Bons N., Onuorah I. M., Mbah P. U., Okafor C. C., Kikanme E.

Department of Architecture, Faculty of Environmental Sciences, Nnamdi Azikiwe University,

Awka, Anambra State, Nigeria

DOI:https://doi.org/10.51244/IJRSI.2024.1103004

Received: 18 February 2024; Accepted: 24 February 2024; Published: 28 March 2024

ABSTRACT

What is made in Aba, Abia State, Nigeria is not good for the Nigerians unless shipped out to Italy,

repackaged and reintroduced back to the country in the name of Imported Product. This is the

nonchalance and the problem with Nigerians. The fashion industries in the country are almost gone

if not extinct because of bad governments, corruption and many inadequacies as a result of political

affiliations and interests. The existing fashion houses are on individual basis and struggling to survive

and for a more inclusive fashion industry in Aba, the researchers adopted content base analysis,

qualitative research method where they carefully analyzed and interpreted works of other authors and

used them in buttressing their points as applied to the issue at hand, Aba, Fashion House. Experts in

the industry and especially, in Aba, believed that the fashion industry (houses) if properly handled,

will hold paramount importance in today’s dynamic world of style and entrepreneurship in the area

and will provide a platform for local designers to showcase and give a high end edge to their products

and the Nigerian fashion in general. The management of the Aba, fashion industry must find ways to

market their products to be accepted both locally and internationally. The idea of shipping their

products to Italy and bringing them back to Nigeria to sell must be discouraged. And most

importantly, the utilisation of adaptable spaces will allow for flexibility, enabling seamless transitions

from workspace to event hosting areas, ensuring the accommodation of fashion shows, exhibitions,

and educational workshops and that is how to connect with the rest of the fashion industry world.

Keywords: fashion, industry, architecture, technology, innovation, house

INTRODUCTION

“Made in Aba,” has always been common and associated with any good material, be it clothing, shoes

and hand bags seen in Nigeria. Aba, has always been seen as the hub of any good material people

wear or use, for the mass production of clothing, shoes, hand-bags, and all that had to do with dressing

(fashion) no matter the type. Dressing according to Neufeldt and Guralnik (1994), the act of one that

dresses, that which is used to dress something.

In some regions, it is called fashion and fashion is more than just clothing. It could be looked at as an

expression of creativity when it comes to dressing, culture, and identity. It has the power to transform

and inspire, and it is a constantly changing industry shaped by trends, technology, and the world

around us. Fashion is described as the changing styles of dress and appearance that are adopted by a

group of people at any given time and place (Lillethun & Welters, 2011).

According to Walker (2017), fashion is a dynamic form of self-expression that transcends mere

clothing, evolving into a powerful language that speaks to the complexities of culture, identity, and

Page 32

www.rsisinternational.org

INTERNATIONAL JOURNAL OF RESEARCH AND SCIENTIFIC INNO V A T ION (IJRSI)

ISSN No. 2321-2705 | DOI: 10.51244/IJRSI |V o lume XI Issue III March 2024

societal shifts. She further indicated that, fashion is not just about wearing the latest trends; it is about

interpreting them in a way that reflects who you are and what you stand for. People have need to

express their emotions, individual identity and culture, and over time, fashion has proven to be a

creative art whereby one is able to freely display these qualities that make them unique. That the

clothes one wears says a lot about a person is a cliché in this age of increased self-consciousness

(Davis, 1992).

Countries, regions and cities are known for their fundermental style of clothing and material. In

Ghana, it is their Kinte. In Yoruba, Nigeria, it is Adure tie and dye, and in Igbo land, red cap and ankle

band for the chiefs, in America, the blue jean, in London England, the suit and tie, etc. Equally, in

those areas in the developed world, their materials are made in their industries while in Aba, they are

mostly made in individual stores called Fashion houses. In most of the advanced world, they are made

in what is called, the Garment Industries.

The fashion industry has a rich and diverse history, evolving through centuries to become a global

economic powerhouse. Its roots can be traced back to ancient civilizations, where clothing served

both functional and symbolic purposes. Early textile production techniques were labour-intensive,

with hand-weaving and hand-sewing dominating the industry. The Industrial Revolution in the 18th

and 19th centuries marked a significant turning point in the industry. Mechanised looms and sewing

machines revolutionised garment production, leading to the rise of mass manufacturing. This era saw

the transition from hand production methods to machines, chemical manufacturing and iron

production processes, and an increase in steam and water power. Machine tools were developed, and

we saw the rise of the mechanised factory system. It revolutionised the way fabrics were produced,

setting the stage for the modern textile and apparel industries (Stocks Sewing Machines Ltd., 2021),

In the 20th century, fashion became increasingly democratised, with ready-to-wear clothing making

high-end fashion accessible to a broader audience. Iconic designers like Coco Chanel, Christian Dior,

and Yves Saint Laurent played pivotal roles in shaping the industry. The mid-20th century also saw

the birth of fashion photography and the establishment of renowned fashion magazines (Chic Luxury

Brand UAE, 2017).

The latter half of the century witnessed the globalisation of fashion, as international designers gained

prominence and fashion weeks in cities like Paris, Milan, New York, and London became global

events. Fast fashion emerged, characterised by quick production cycles and affordable, trend-driven

clothing (Chic Luxury Brand UAE, 2017). The fashion styles are constantly changing with the

advancements in communication and technology around the world. The dynamics of the world

economy has changed and greatly impacting the socio-economic conditions of every society. Today,

the world economy is in a period of rapid and dramatic change, and the question of just how we will

connect to this new world is the single most important issue of our life. We are living in a time of

contradiction. A time of role reversals, a time in which old expectations are violated so frequently that

new expectations cannot form. Many of these contradictions center around connections to the world.

The world is now connected and affecting the old operational mechanisms of most establishments. It

is a new world and with changes (Moss, 1995).

Technological advancements, especially, the rise of the internet, further transformed the industry. E-

commerce platforms allowed consumers to shop online, while social media became a powerful tool

for fashion influencers and brands to connect with a global audience. Fashion house on the other

hand, according to Smith (2019), is an intricate nexus of creativity and commerce, where designers

converge to craft and curate collections that transcend mere garments, encapsulating a distinctive

brand narrative.

A fashion house stands as a symbol of creative synergy and commercial innovation, where designers

converge to craft collections that extend beyond mere garments, encapsulating a unique brand

Page 33

www.rsisinternational.org

INTERNATIONAL JOURNAL OF RESEARCH AND SCIENTIFIC INNO V A T ION (IJRSI)

ISSN No. 2321-2705 | DOI: 10.51244/IJRSI |V o lume XI Issue III March 2024

narrative. As renowned fashion historian Jane Williams observes, Fashion houses are not merely

places of creation; they are storytellers, weaving tales through fabrics and stitches that resonate with

the pulse of cultural and aesthetic evolution (Williams, 2018).

In all, fashion houses are all what make up the fashion industry. The fashion industry is a vast,

complex and highly profitable sector focused on the creation, production, and sale of clothing. It

encompasses various aspects such as design, production, marketing, retail, promotion, and advertising

of fashionable apparel. The term Fashion Industry, encompasses a wide range of industries and

services, providing employment opportunities to millions of people worldwide. The industry is

divided into different sectors, including haute couture, ready-to-wear, fast fashion, and luxury goods.

Haute couture refers to high-end custom-made clothing that is made to order for individual clients.

Ready-to-wear, also known as prêt-à-porter, is mass-produced clothing that is sold in standard sizes.

Fast fashion is a relatively new concept that involves the production of low-cost and trendy clothing

in large quantities. Luxury goods refer to high-end products that are produced in limited quantities

and are often associated with high prices and exclusivity, and mostly for a special tailored class of

people (ostentatious living individuals).

In the past, clothing was predominantly made at home until the late 19th century. However, with the

advent of technology, particularly sewing machines, and the growth of global capitalism and factory

production systems in the 20th century, the fashion industry gained significant prominence. While the

fashion industry initially emerged in the United States and Europe, it has experienced remarkable

growth and now commands a prominent position on the global stage. To keep up with modernization

and increase efficiency, many fashion companies have adopted outsourcing practices, entrusting

certain aspects of their operations to other regions across the globe (Winter & Lasch, 2016). For

example, in Aba, Abia State, shoes are produced, shipped to Italy and brought back to resell in the

name of imported products. This is simply because, Nigerian embrace foreign made products and

locally produced ones, they take to be inferior. On the Cable Network News (CNN), Dr. Ngozi Okonjo

Iweala, the Director, World Trade Organization, has on many occasions, discussed this while talking

about the potentials in African. The fashion industry can be divided into four main categories: raw

material production, fashion design, retail, and advertising. What sets the fashion industry apart from

other manufacturing sectors is its inherent nature of constant change. Fashion is primarily defined by

the creative vision of its designers. Unlike mere clothing production, fashion incorporates elements

of taste, style preferences, and cultural evolution, with morality playing a significant role in shaping

fashion trends (Schiller-merkens, 2017). The dynamic nature of style is a central aspect of the fashion

industry, requiring adaptations not only in production processes, but also in design, advertising, and

promotion strategies (Lu, 2016).

The fashion and textile industries are vibrant and rapidly growing sectors in Africa, with an estimated

value of 31 billion USD, and Nigeria is a major contributor to this growth. The Nigerian fashion

industry is not only significant in terms of its economic contribution, but it also plays a crucial cultural

role in the country. Despite facing significant challenges, Nigerian fashion brands are creating a new

wave of innovation and sustainability in the industry, using low-impact production methods and

traditional handcraft techniques, combined with striking aesthetics and African wax prints. The

industry is at the forefront of adopting sustainable practices, recognizing the importance of

minimising its environmental impact. By embracing sustainable craftsmanship and innovative design,

the Nigerian fashion industry is breathing new life into the country’s once-thriving textile industry

and contributing to the growth and development of the African fashion industry as a whole (Business

Sweden, 2022).

The Nigerian fashion scene has always been characterised by its unique, expressive, and defining

nature. Emerging as a leader not only in Africa, but globally as well, the Nigerian fashion industry

has continuously undergone transformations, blending traditional elements with contemporary

influences while preserving its distinctive charm and essence (Awodipe, 2021). Describing Nigerians

Page 34

www.rsisinternational.org

INTERNATIONAL JOURNAL OF RESEARCH AND SCIENTIFIC INNO V A T ION (IJRSI)

ISSN No. 2321-2705 | DOI: 10.51244/IJRSI |V o lume XI Issue III March 2024

as inherently fashionable would be an understatement, as our lifestyle and elegance reflect a

magnitude beyond words. However, similar to a child outgrowing its diapers, the fashion sense of

Nigerians has evolved and matured throughout the years.

The fashion industry in Nigeria plays a vital cultural role and contributes significantly to the country’s

economy. Casual clothing is frequently the choice, though for different events people may opt for

formal and traditional attires. These garments encompass a wide range of colours, fabrics and often

include decorative elements like beads. Various regions in Nigeria have distinctive clothing styles

influenced by their tribal traditions (Okeke, 2023). Nigeria is known for its production of stylish

textiles and ready-made clothing, and some Nigerian designers have gained global acclaim. Nigerian

craftsmanship is a unique selling point and presents a lot of potential for value added products and

job creation to the growing communities.

In Nigeria, there exist different fashion designers with their privately owned studios, workshops,

boutiques etc. in different locations yet, very little attention is given to fashion houses. Establishing

a fashion house in Aba, Nigeria, and leveraging spatial design to enhance the fashion industry

involves a multidimensional approach that integrates both the cultural and economic aspects of the

region. Aba, known for its vibrant entrepreneurial spirit and textile industry, has a rich history in

garment manufacturing and design. Focusing on spatial design within this context offers an

opportunity to revitalise and further promote the fashion industry.

Spatial design plays a critical role in creating an immerse and captivating environment for the fashion

house. It encompasses the layout, interior design, and overall aesthetic appeal of the physical space.

The local cultural elements of the area are important factors to be considered in the design of the

industry. According to Nwabueze (2019), Cultural Entrepreneurship in the Nigerian Fashion Industry,

emphasises the importance of infusing indigenous cultural elements into fashion and design. This

approach not only adds uniqueness to the space, but also fosters a sense of connection with the

community, potentially attracting both local and international clientèle.

Moreover, the spatial design would consider the practical aspects of the fashion house, adequate

spaces for the design studios, showrooms, fitting rooms, and even spaces for fashion events and

workshops. This aligns with the findings by Chen (2020), that indicates that spatial design strategies

for fashion retail stores should emphasise the significance of adaptable spaces that cater to various

needs within the fashion industry.

Creating a space that encourages interaction, such as incorporating lounges or cafe areas, can also

enhance the overall customer experience. According to Smith and Scott (2018), in The Role of

Experiential Design in Fashion Retail, spaces that facilitate social interaction tend to create a more

engaging and memorable experience for customers. Although not structured, and by default, most

fashion houses in Nigeria have places for socialization, eatery, drinking, etc.

STATEMENT OF PROBLEM

The fashion industry in Aba, Abia State, Nigeria, has immense potential for growth and development

yet, without structured and standardised fashion houses for all. The challenges of fostering

meaningful consumer engagement within the fashion spaces through spatial design remains a critical

concern for architects and the building industry. Fashion houses are grappling with understanding

how spatial design elements can captivate and sustain consumer interest in an increasingly

competitive market like Aba. Hence, there is need to investigate the dynamics of the consumer

engagement within the spatially designed environments for the fashion industry, exploring factors

such as layouts, aesthetics, circulation and the interactive elements to improve on the consumer

behaviour.

Page 35

www.rsisinternational.org

INTERNATIONAL JOURNAL OF RESEARCH AND SCIENTIFIC INNO V A T ION (IJRSI)

ISSN No. 2321-2705 | DOI: 10.51244/IJRSI |V o lume XI Issue III March 2024

AIM

The aim of this project is to investigate and propose an inclusive functional fashion house, where

appropriate spatial design strategies will be utilized to promote the facilities in the Aba, fashion

industry.

RESEARCH METHOD

The authors adopted content base analysis, qualitative research method where they carefully analyzed

and interpreted works of other authors and used them in buttressing their points as applied to the issue

at hand, Aba, Fashion House.

FINDINGS

The fashion industry all over the world constantly grows and changing the dynamic and styles of

dressings of the people. However, the architecture of the industries while encompassing and with

different functional facilities in the advanced world, are mostly still primitive in the development

world and especially in Aba, Abia State, Nigeria, known for beautiful and mass produced fashion

attires and dressing products. As gathered by sampling the opinions of the experts in the industry and

especially, in Aba, the fashion industry (houses) if properly handled will hold paramount importance

in today’s dynamic world of style and entrepreneurship in the area.

It will serve as an attraction point for everyone interested in fashion, contribute to Nigeria’s economy

through employment, production and trade, and it will provide valuable insight into the creative

process, innovations, challenges and opportunities within the fashion sector, an opportunity for other

cities interested in establishing their fashion industry. It will equally, give a deeper understanding of

the cultural significance, traditional craftsmanship and unique design elements that contribute to the

promotion and preservation of the cultural identities of the people through fashion and styling designs.

Most importantly, it will provide a platform for local designers to showcase and give a high end edge

to their products and the Nigerian fashion in general.

RECOMMENDATION

Aba, Abia State, Nigeria, can only hold Aba down. Abia State has been very unfortunate with the

government and governance. None of the governments ofAbia State, has been able to fully investigate

the fashion industry’s potentials of Aba, to take advantage of it and for the industry to grow to its

potentials, the governments must align with the Aba, business communities and tap into the potentials

of the fashion industry.

The management of the Aba, fashion industry must find ways to market their products to be accepted

internationally. The idea of shipping their products to Italy and bringing them back to Nigeria to sell

must be discouraged. Developing and building a well balanced industrial structure that will

accommodate all the facilities needed for a fully functional fashion industry in Aba, is highly

recommended and with well articulated government policies that will see to the industry’s

sustainability.

CONCLUSION

The establishment of a fashion house in Aba, will present an exciting opportunity to merge the

prowess of the local fashion industry with a spatially innovative design, giving room for more

challenges, attractions and international investments. By focusing on spatial coordinated spaces and

designs, this industrial design will create a dynamic, multifunctional spaces that will serve as a

thriving nucleus for the fashion communities. The layout of the fashion industry will be meticulously

Page 36

www.rsisinternational.org

INTERNATIONAL JOURNAL OF RESEARCH AND SCIENTIFIC INNO V A T ION (IJRSI)

ISSN No. 2321-2705 | DOI: 10.51244/IJRSI |V o lume XI Issue III March 2024

designed to encompass distinct zones that will embrace convivial engagement of activities. The

activities will include dedicated areas for design studios, workshops equipped with state-of-the-art

equipment for garment construction, and spaces for showcasing finished creations. The utilisation of

adaptable spaces will allow for flexibility, enabling seamless transitions from workspace to event

hosting areas, ensuring the accommodation of fashion shows, exhibitions, and educational

workshops.

Emphasis will be placed on incorporating sustainable design elements such as energy-efficient

lighting, recycled materials, and innovative eco-friendly technologies to align with global trends and

reduce the ecological footprint of the fashion house.

The strategic location within Aba, will foster a sense of community and collaboration among local

talents. The spatially optimised design intends to encourage networking, idea exchange, and skill

sharing among designers, artisans, and entrepreneurs. This collaboration aims to bolster the collective

creativity and innovation within the fashion industry.

Additionally, the fashion house’s unique and appealing design, coupled with its focus on sustainability

and technological integration, is envisioned to attract both local and international attention. This

attention has the potential to position Aba, as a burgeoning fashion hub, drawing in not only local

residents and industry experts, but also global visitors, thereby contributing significantly to the city’s

cultural and economic landscape.

REFERENCES

1. Awodipe, T. (2021, October 3). The Evolution Of Nigerian Fashion Since Independence — Guardian

Life — The Guardian Nigeria News – Nigeria and World News. The Guardian Nigeria. Retrieved

December

22,

2023,

from

https://guardian.ng/life/the-evolution-of-nigerian-fashion-since-

independence/

2. Business Sweden. (2022, January 25). Nigeria: A Fashion Hot Spot. Business Sweden. Retrieved

January 20, 2024, from https://www.business-sweden.com/insights/articles/nigeria-a-fashion-hot-

spot/

3. Chen, A. (2020). Spatial Design Strategies for Fashion Retail Stores.

4. Chic Luxury Brand UAE. (2017, November 9). Historical Evolution of Luxury Fashion; Tracing

the roots of luxury fashion from ancient civilizations to the present-day. YouTube: Home. Retrieved

January

19,

2024,

from

https://chicuae.medium.com/historical-evolution-of-luxury-fashion-

3ad789c6bdcc

5. Davis, F. (1992). Fashion, culture, and identity. Chicago: University of Chicago Press.

6. Lillethun, A., & Welters, L. (2011). Fashion History: A Global View. Academia.edu. Retrieved

December 20, 2023, from https://www.academia.edu/56570638/Fashion_History

7. Moss Kanter Rosabeth (1995) World Class, Thriving Locally in the Global Economy. Simon and

Schuster, Rokyfella Center, 1230 Avenue of the Americas, New York, NY 10020. 19-25.

8. Neufeldt Victoria and Guralnik David B (1994). Third College Edition. Webster’s Ne World

Dictionary of American English. Macmillan General Reference. A Pretntice Hall/Macmillan

Company, New York, NY 10023

9. Nwabueze, C. (2019). Cultural Entrepreneurship in the Nigerian Fashion Industry.

10. Okeke, I. (2023, October 7). Lagos x Paris Accelerator: Empowering fashion designers for

international exposure.

Businessday

NG.

Retrieved

January

20,

2024,

from

https://businessday.ng/arts-and-life/article/lagos-x-paris-accelerator-empowering-fashion-designers-

for-international-exposure/

11. Smith, M. (2019). The Role of Fashion Houses: An Intricate Nexus of Creativity and Commerce.

12. Smith, & Scott. (2018). The Role of Experiential Design in Fashion Retail.

Page 37