ABSTRACT
The conclusion begins by acknowledging a sartorial shift occurring across Africa: the rejection by some designers of materials that serve as markers of a generalized and stereotyped concept of African identity. I explore the continued promotion of these sartorial stereotypes by European and American-based designers, illustrating the complexity of defining “African” fashion. I then argue for the importance of acknowledging individual African designers’ perspectives and heritages, as it provides legitimacy to their respective countries and nuances their own complex identities. I summarize the major points of the publication, emphasizing the historicity and inherent artistry of Ghanaian fashion, as expressed through the designers highlighted in this publication. I conclude by offering final thoughts on how the field of African art history can be reformed to be inclusive of fashion as a form of artistic expression.
