Dress fashion is a strong medium for cultural identity expression and are vehicles for relaying cultural values, statues and beliefs of individuals and communities (Wardaya et al., 2024) even in this ever-changing world (Ryan & Linehan, 2022). It potentially shapes the religious, psychological, historical and cultural perspectives of individuals and communities (Arvanitidou & Gasouka, 2011). Globally, dress fashion choices speak to the accepted cultural values of communities and the personal beliefs and aspirations of individuals. Wardaya et al. (2024) note of the Japanese that their indigenous Kimono cloth that has been part of their rich dress fashion culture since 794 B.C.E. is still work as a national attire with pride because it is a symbol of good fortune and longevity of life. Likewise, Bell and Cole (2024) describe the Scottish kilt, a knee-length apparel that resembles a skirt with various pleats, with roots in the Gaelic tradition of the Scottish Highlands in the 16th century as a national dress worn with pride. In the African landscape, dress fashion is a visual marker of history, culture and philosophy of communities. For instance, the Oromo dress practices serve as vehicle of Oromo worldview, history and philosophy (Akou, 2022). In Ghana, the design iconography of the celebrated royal cloth known as Kente has various cultural ramifications that reflect the historical narratives and cultural values of the Akans and broader Ghanaian indigenous philosophies (Adom, 2024). National leaders and other duty bearers in the society are supposed to set example in their dress fashion to reflect national ideologies and cultural philosophies of their people.

The sartorial choices of national leaders serve as potent symbols of cultural heritage and collective identity, wielding significant influence in shaping public perceptions of nationalism and sovereignty. In Ghana, where presidential inauguration ceremonies are deeply rooted in tradition, the dress fashion of incoming leaders transcends mere aesthetics, embodying aspirations for unity and reflecting the nation’s multicultural fabric. While existing scholarship has explored the sociopolitical dimensions of presidential fashion, the interplay between public sentiment, symbolic representation (Essel, 2021; Essel, 2019), and national cohesion remains underexamined, a gap this study seeks to address through the lens of President John Dramani Mahama’s debated 2025 inaugural dress fashion (Fig. 1).

Prior research underscores the cultural weight of these sartorial decisions. Essel’s (2019) analysis of Ghanaian presidential inaugurations from 1960 to 2017 revealed a strong preference for indigenous dress fashion among leaders, aligning with multi-ethnic nationalism to foster unity. Notably, seven of eight presidents-elect opted for Ghanaian designs, prioritising national identity. This trend, however, faced scrutiny when President Nana Akufo-Addo’s 2021 Eurocentric suit drew public criticism for perceived cultural dissonance, as highlighted by Essel et al. (2021). Their study of 17 stakeholders found consensus that such choices undermine efforts to promote local textiles and national pride, reinforcing calls for legislative action to mandate culturally symbolic dress fashion by Ghanaian presidents-elect for their inaugural ceremonies.

Despite these insights, critical limitations persist. Existing studies rely on small qualitative samples—eight leaders in Essel (2019) and 17 respondents in Essel et al. (2021)—constraining generalizability and depth in assessing public consensus. Moreover, scant attention has been paid to how citizen perceptions of presidential fashion align with broader nation-building objectives, particularly in Ghana’s ethnically diverse context where visual symbolism holds profound communicative power.

President Mahama’s January 7, 2025 inaugural dress, sparking vigorous public attention, presents a pivotal case study. This study investigates how public perceptions of 2025 inaugural dress fashion choice of president John Dramani Mahama contribute to fostering national identity and cohesion in Ghana. By analyzing public discourse through surveys, the study illuminates fashion’s role as nonverbal communication that negotiates tensions between tradition and modernity, leadership and populism, ethnic diversity and collective identity. Findings tend to inform policy debates on cultural representation while advancing scholarly understanding of semiotics in political leadership—a timely contribution as postcolonial nations increasingly leverage symbolic acts to redefine their global and domestic identities.

Due to the nature of the study which investigates how public perceptions of inaugural dress fashion choice contribute to fostering national identity and cohesion in Ghana, theoretical frameworks that combined perspectives from communication theory, identity theory and cultural studies were adapted. The primary theories adapted for the study were symbolic interactionism (focus on how the public interprets the dress fashion as a cultural symbol), social identity theory (exploring group cohesion), semiotics (deconstructing dress fashion’s cultural meaning), and post-colonial theory (reclaiming cultural heritage).

Historically, George Herbert Mead, an American philosopher, sociologist, and psychologist is said to be the father of symbolic interactionism as his pioneering works laid the foundation for understanding how human interactions shape society through the use of symbols and shared meanings (Linh, 2019; Quist-Adade, 2018; Aksan et al., 2009). Mead emphasised that individuals develop their sense of self and identity through social interactions (Linh, 2019; Quist-Adade, 2018; Aksan et al., 2009). Mead’s ideas were later formalised and popularised by his former student, Herbert Blumer, who coined the term symbolic interactionism in 1969, shaping it into a theoretical framework (Quist-Adade, 2018; Aksan et al., 2009; Dong, 2008; Blumer, 1969). Therefore, the current study aligns with the symbolic interactionism theoretical thoughts of Herbert Blumer. Specifically, Blumer’s symbolic interactionism is underpinned by three major focal lenses such as symbols, social interaction, and the construction of meaning (Blumer, 1969), which are particularly suitable for analysing public perceptions of President John Dramani Mahama’s 2025 inaugural dress fashion choice as a reflection of Ghanaian national identity and social cohesion. Firstly, the theory underscores the role of symbols, such as dress fashion, as carriers of shared cultural values and identity of a people (Blumer, 1969). In this context, Mahama’s dress fashion at his 2025 inauguration could be perceived not merely as a dress fashion choice but as a symbolic representation of Ghana’s historical and cultural heritage or his personal leadership ideological expression. The style, fabric, and design of the dress could evoke interactive meanings related to unity, tradition, or modernity, shaping public interpretations of the national dress and cultural identity of Ghanaians. Secondly, Blumer emphasises that social interaction is central to how meanings are negotiated and reinforced. The reactions and interactions of individuals, whether through discussions in communities, in the media, or in public discourses, could engender a collective interpretation of Mahama’s 2025 inaugural ceremony dress fashion. These interactions tend to influence how people perceive the president’s fashion as either a unifying representation of Ghana’s diverse cultural identity or a divisive element reflecting specific ethnic, and political affiliations or personal ideologies. The theory also focuses on the construction of meaning through subjective experiences (Blumer (1969). Different individuals or groups may interpret Mahama’s 2025 fashion choice differently, probably due to their diverse cultural backgrounds, personal values, or social standing. In such diversity, symbolic interactionism provides a suitable lens to explore how these differing perspectives converge or diverge to shape broader narratives about Ghanaian national identity and cohesion or otherwise associated with Mahama’s 2025 inaugural dress fashion choice. By addressing these focal elements, Blumer's symbolic interactionism theoretical thoughts offer a comprehensive framework to unpack the public perception and symbolic significance of Mahama’s inaugural dress fashion and its implications for Ghanaian society. By so doing, it highlights how dress fashion symbolism can serve as a medium for fostering collective unity or sparking critical dialogue about national identity.

In addition to symbolic interpretivism, the study was guided by complementary theoretical frameworks such as social identity, semiotics theory, and post-colonial theory. Social identity theory, proposed by Henri Tajfel in the early 1970s (Tajfel, 1978) and further developed by Tajfel and Turner (Tajfel & Turner, 1979), specifically deals with whether or not President Mahama’s inauguration dress fashion promotes social cohesion or symbolically aligns with the shared cultural and national identity of Ghanaians. Also, semiotic theory, which is the study of signs or an epistemology about the existence or the actuality of signs in societal life (Yakin & 2014) facilitated a detailed deconstruction of the dress's symbolic elements such as adinkra symbols, colours, patterns, and textures of the dress fashion to establish their cultural and political meanings, showcasing how they communicate notions of unity and identity. This was done using Peirce’s perspective of semiotics (the study of signs, icons, indexes, and symbols), proposed in his series of writings published in 1931/1958 (Swenson & Cipolla, 2020; Yakin & 2014; Deacon, 2012). Lastly, post-colonial theory, which emerged as a critical academic field in the 1970s and gained global recognition in 1978 through Edward Said’s publication, Orientalism, explores the impact of colonialism and imperialism on the political, cultural, and economic dimensions of colonised nations (Hamadi, 2014; Rukundwa, 2007). Therefore, the adoption of post-colonial theory provided a framework for situating President Mahama's inauguration dress within Ghana's historical context, emphasising the need and how to project, celebrate, and restore Ghana’s rapidly eroding cultural values and identities such as indigenous Ghanaian dress classics, that were lost as a result of colonialism.

Together, these theories (social identity, semiotics, and post-colonialism) expand the interpretive scope of symbolic interactionism by providing a comprehensive analysis of public perceptions surrounding John Mahama’s 2025 inaugural dress. They situate his fashion choice within broader social, cultural, and historical narratives, offering deeper insights into its role in reflecting Ghanaian national identity and fostering national cohesion for development.

This section presented the data presentation and analysis arrived at in using the measures of central tendency (mean, median, and mode) and the use of simple percentages. This provided vital insights into the structure, skewness, and centre grouping of the data. The analysis informed the conclusions drawn.

Of the 1558 respondents who partook in the study, 895 were males (57.4%) while 663 were females (42.65%). This distribution demonstrates a significant majority of the male sample. Males exceed females by 14.75 percentage points (57.4% compared to 42.65%), a difference of 232 persons. The male-to-female ratio is around 1.35:1, meaning that for each female respondent, there are about 1.35 men. Although gender is a categorical variable, the male group noticeably functions as the mode. This highlights a significant concentration of answers within the male group.

A total of 1558 respondents who partook in the study have been categorised into five age groups, with the majority (67.1%) in the 18–25 age range. The distribution (Table 1a) shows a noticeable fall with age 26–35 (22.9%), 36–45 (4.4%), 46–55 (1%), and 56 and older (4.7%). With the given dataset (Table 1a), the mode, indicating the most prevalent age group, is the 18–25 age range, comprising more than two-thirds of the sample population. This pronounced concentration highlights a significant central trend towards younger respondents, with no other demographic surpassing 23% of responses.

Determining the median necessitates defining the age that divides the sample into two equal segments. The median is situated within the 18–25 age group, which has a cumulative percentage of 67.1% at its inference. The median age is approximately 24 years. This shows that 50% of the respondents are under 24 years of age, while the remaining 50% are older, with the latter category exhibiting a broad age distribution characterised by decreasing frequencies. The median's placement inside the youngest category further corroborates the left-skewed characteristic of the data. The average age, determined by all data points, is computed using the midpoints of each category. The midpoints assigned are 21.5 (for 18–25), 30.5 (for 26–35), 40.5 (for 36–45), 50.5 (for 46–55), and an estimated 60.5 for the open-ended 56 + group (assuming a 56–65 range), resulting in a weighted mean of approximately 26.5 years. The mean surpasses the median by 2.5 years, indicating the little influence of older age category on the average. Nonetheless, this effect is lessened owing to underrepresentation of elderly respondents, including at 9.7% in the 36 + categories. The mean's elevation above the median indicates a little right skew, however the skewness is limited by the predominant concentration of data in the youngest category. The disparity between the mean (26.5) and median (24) exemplifies the conflict between the data’s predominant youthful demographic and the skewed distribution of older respondents. Although the mode and median clearly establish the central tendency within the 18–25 age range, the elevated mean indicates that older ages, however infrequent, have a significant impact.

Table 1b shows regional response distributions throughout 16 areas in Ghana, with a total of 1,558 respondents. The Greater Accra and Central Regions each account for 19.3% of responses, followed by Ashanti at 12.7% and Eastern at 12.3%. However, the majority of areas are inadequately represented, with Ahafo and Savannah each at 0.9%, and Western North at 1.5%. This distribution indicates a spatial concentration of respondents, perhaps associated with population density, willingness to partake in the study or survey accessibility.

The mode, is a tie between Greater Accra and the Central Region, both at 19.3%. This dual modal structure underscores the domination of metropolitan or well-resourced areas, which frequently show elevated participation rates in surveys owing to superior connection, awareness or willingness in participation. The absence of a singular mode highlights the divergence in response density between these two areas. The average response percentage, determined by dividing the total responses (100%) by the number of regions (16), results in 6.25%. Greater Accra and the Central Region exceed the mean by 3.1 times, while 11 regions are below 5%, and six regions are below 2%. The mean's elevation in relation to the median, which typically resides around 3–4% for most locations, underscores the data's significant right skew. The disparity between the mean (6.25%) and median (~ 3–4%) highlights the data's asymmetry. The mean is elevated by the high-response regions, whilst the median is anchored at the lower end of the distribution, indicating that most regions contribute insignificantly. The low median indicates that half of the regions contribute less than around 4% to the total responses, highlighting geographic disparities in involvement. The regional participation could be attributed to accessibility to internet and willingness to participate since the data collection was done solely through the internet.

The educational attainment levels of the 1,558 respondents (Table 1c), showed the Tertiary category as predominant, accounting for 96.4% of the sample (1,502 persons). The remainder of the categories namely Secondary/SHS/SHTS (1.3%), Other (2.2%), JHS/Middle School Leavers (0.006%), and Primary (0%) are insignificant by comparison. In addition, the mode is Tertiary, indicating a near-universal representation of this category. The mode comprises almost 96% of responses, overshadowing all other categories, which together represent less than 4% of the sample. The Other category (2.2%) is more prominent than Secondary (1.3%) or JHS (0.006%), although all remain statistically insignificant relative to the modal class. With a total sample size of 1,558, the median is represented by the 779th and 780th observations. Cumulative percentages indicate that respondents over the initial 1,502 are classified as Tertiary, signifying that the median is within this category. This outcome corresponds with the mode, affirming Tertiary as the primary focal point of the distribution. The median's alignment with the mode is atypical in standard ordinal distributions, happening solely when a single group comprises over 50% of the data.

The data shows public perceptions on Mahama’s 2025 inaugural dress fashion choice (Table 2a), with responses of 1,558 respondents grouped into five ordinal ratings namely Very Well (78.5%, n = 1,223), Well (14.9%, n = 232), Neutral (5.8%, n = 90), Poorly (0.3%, n = 5), and Very Poorly (0.5%, n = 8). The distribution is substantially skewed towards favourable assessments, with 93.4% of responses (Very Well + Well) indicating acceptance. The mode, median, and mean show the prevalence of positive perceptions while assessing the negligible impact of neutral or negative responses. The mode is the Very Well category, comprising 78.5% of the sample. This exclusive focus underscores a near-universal endorsement of Mahama's sartorial selection for his 2025 presidential inauguration (Fig. 1), overshadowing all other categories. The second-most prevalent view accounts for 14.9%, whilst negative perceptions (Poorly + Very Poorly) together comprise less than 1%. The modal value highlights a robust consensus, devoid of significant rivalry from other categories.

The median, is positioned inside the Very Well category. Cumulative percentages indicate that 78.5% of responses are solely concentrated in the Very Well category, above the 50% barrier necessary to establish the median. This indicates that even if the distribution were divided into two segments, the median would remain inside the highest acceptance group. The median's correspondence with the mode underscores the significant skew towards positive peceptions, allowing minimal change in central tendency. The mean, derived by assigning numerical values to each category (e.g., Very Poorly = 1, Poorly = 2, Neutral = 3, Well = 4, Very Well = 5), results in a weighted average of 4.71 on a 5-point scale. This value is obtained as follows:

The mean's closeness to the maximum score of 5 suggests that even little negative or neutral answers exert little influence on the overall average. The little divergence from 5 is mostly due to the 6.6% of non-positive responses (Neutral + Poorly + Very Poorly), which jointly diminish the mean by 0.29 points. This marginal impact highlights the statistical irrelevance of dissenting viewpoints in altering the central trend. Synthesis of the central tendencies, the mode (Very Well), median (Very Well), and mean (4.71) illustrates alignment of a pronounced positive skewness. The mean's little decrease from 5 indicates the mathematical impact of outliers. However, their practical significance is minimal due to their insignificant proportions. The data is characterised by a concentration at the higher end (Very Well), with frequencies diminishing exponentially towards the lower categories. This pattern indicates agreement with minimal opposition. The preeminence of Very Well and the swift decrease in frequency towards lesser ratings underscore the alignment of Mahama’s dress selection with public expectations or cultural standards (Table 2a).

Responses from 1,558 respondents about their views on whether President John Dramani Mahama's dress fashion choices at his inauguration foster national pride and unity were categorised into five ordinal Likert-scale classifications. The distribution is indicative of agreement, 61.8% strongly agree, 32% agree, 4.6% are neutral, 1% disagree, and 0.6% strongly disagree (Table 2b). Measures of central tendency (mode, median and mean) indicate a significant agreement. The mode, is the “Strongly agree” group, representing 963 responses (61.8%). This pronounced dominance highlights the distribution's primary concentration at the highest degree of consensus. No other group surpasses 32%, and the aggregate of "Agree" and "Strongly agree" responses comprises 93.8% of the total, resulting in negligible variation towards neutral or negative views. The modal value underscores the consensus of the views, with most individuals viewing fashion as a cohesive element of national pride. This is affirmed by the social identity theory (Tajfel & Turner, 1979) which partly deals with how the public perception of dress fashion boosts their identification with the national group and instill cultural pride.

The median, based on 1,558 total responses, lies between the 779th and 780th responses. Cumulative statistics indicate that the "Strongly agree" group comprises 61.8% of responses (up to the 963rd respondent). Consequently, the median is definitively situated inside the "Strongly agree" range. This indicates that a minimum of 50% of the respondents express strong agreement with the statement. The median's correspondence with the mode underscores the lack of substantial variation in central aggregation. bThe mean of 4.53 is situated between "Agree" (4) and "Strongly agree" (5), indicating a predominance of positive responses. The little negative influence from the neutral, disagree, and strongly disagree categories inhibits the mean from attaining the theoretical maximum of 5. The disparity between the predominant "Strongly agree" responses and the minimal impact of lesser ratings results in a slight negative skew. Nonetheless, the mean's closeness to 5 highlights the strength of the consensus. The alignment of the mode ("Strongly agree") and median ("Strongly agree") underscores the distribution's uniformity, with more than 60% of respondents positioned at the greatest degree of agreement. The mean (4.53) slightly deviates from these metrics due to the uneven distribution of answers; yet, its proximity to the upper limit of the measure affirms that the central tendency is predominantly positive. This trio of measurements demonstrates a populace with robust, unified convictions regarding the function of President Mahama’s 2025 inaugural fashion choice (Fig. 1) in promoting national cohesion, with negligible opposition. The skew does not compromise the larger story of consensus; instead, it quantifies the little disagreement. It could be asserted that public attitude unequivocally links Mahama's dress fashion to national pride, exhibiting minimal ambiguity or polarization. This reinforces the social identity theoretical viewpoint (Yakin & 2014; Tajfel, 1978).

Table 2c records perceptions regarding the significance of traditional (indigenous) dress fashion in presidential ceremonies among 1,558 respondents, classified into five ordinal categories, Extremely important (56%), Very important (38.8%), Neutral (4.1%), Slightly important (0.8%), and Not important at all (0.19%). The distribution is markedly skewed towards the higher end of importance, with 94.8% of respondents (combined categories of Extremely and Very important) underscoring cultural relevance. Measures of central tendency namely, mode, median, and mean, indicate a significant concentration on high significance, but subtle distinctions arise in their interpretations. The mode is Extremely important (873 responses, 56%). This dominance highlights a social emphasis on President Mahama’s deployment of Ghanaian traditional clothes (Fig. 1) for official state ceremonies, signifying cultural pride or symbolic significance (Linh, 2019; Quist-Adade, 2018; Aksan et al., 2009). The modal category's substantial majority indicates a consensus, since no alternative category surpasses 38.8% (Very important). This concentration indicates limited variation in tastes, with almost all responses aggregating in the highest two levels. The median, indicates that the 50th percentile is located inside the Extremely Important category according to the cumulative percentages. At the peak of this category, 56% of responses have been recorded, exceeding the halfway threshold of 50%. The median response is Extremely Important, signifying that at least half of the public attribute maximal significance to traditional dress fashion in presidential ceremonies. This corresponds with the trend, emphasising the importance of cultural symbols in public perception (Blumer 1969; Yakin & 2014).

The mean of 4.5, situated between Very Important (4) and Extremely Important (5) illustrates the disproportionate influence of the prevailing upper-tier responses. The median and mode establish the central tendency at Extremely Important, but the mean's minor shift towards Very Important is affected by the 38.8% in that group. The little representation of neutral or negative responses (5.1%) constrains their influence on the mean, maintaining its closeness to the highest priority level.

The proximity of the mode, median, and mean towards the top end of the scale signifies a pronounced left-skewed distribution (when shown with significance ascending from left to right). The skewness results from the infrequent representation of less significant responses, but lack sufficient statistical weight to significantly alter the central tendency. The mean's elevation over the median's threshold (Extremely important) further exemplifies the distribution's homogeneity that even slight deviations towards Very important are inadequate to diminish the predominant focus on cultural heritage. The metrics of central tendency combined indicate a cultural imperative for including traditional dress fashion into presidential events. The alignment of the mode and median at an extremely critical level indicates that Mahama’s dress fashion choice represents not just a plurality but a majority position. The mean's minor decline to 4.5 which is still close to the peak, suggests subtle variations within the prevailing emotion but does not diminish the overall agreement.

The analyses of perceptions on the reflection of national identity in Ghana's fashion choices, covers 1,558 responses over five thematic areas (Fig. 2). The prevailing sentiment expressed by respondents is the commemoration of Ghana's cultural heritage and traditions, as embedded in President Mahama’s 2025 inaugural dress fashion choice (Fig. 1), accounting for 67.1% of responses. Other themes, including the unity and inclusion of various ethnic groups (29.7%), leadership and respect for the nation (17.8%), political neutrality (2.8%), and political diplomacy (2.4%), are far less popular. The categorical data, particularly the mode, provides essential insights into the perceived primacy of cultural legacy in forming Ghana's identity, while further analysis underscores the relative insignificance of political issues. The mode is distinctly Ghana’s cultural heritage and traditions (67.1%). This pronounced dominance highlights a significant central trend, with around 70% of respondents linking President Mahama’s 2025 inaugural fashion choice (Fig. 1) to cultural preservation. The significance of the modal category surpasses all other topics, indicating a social agreement that traditional dress fashion, in the case of Mahama’s 2025 inaugural dress fashion (Fig. 1), is a primary means of conveying national identity. The other categories combined represent just 32.9% of responses, underscoring the significance of cultural heritage. The average response rate across all categories is 23.96%, calculated by dividing the total of all percentages (119.8%) by five categories. Nonetheless, this statistic is skewed by the mode's extreme value (67.1%), which is nearly thrice the mean. The mean's elevation above the lower-ranked categories, such as political neutrality at 2.8%, underscores the asymmetry in the distribution. This indicates that although Ghanaians acknowledge various aspects of national identity, cultural heritage is the cornerstone.

In finding out from the 1,558 respondents the elements in Mahama’s dress fashion (aspects in fashion decisions) that stand out (Fig. 1), the predominant element indicated is Fabric (kente, batakari, cap), which constitutes 54.7% of respondents (Fig. 3). Colour symbolism, and Patterns and designs are each at 25.2%, but overall style and fit (14.1%) and other (0.3%) behind considerably (Fig. 3). The mode, is Fabric, comprising over 50% of all responses. This dominance highlights its crucial impact in respondents' judgements of fashion selections. The modal value emphasises a pronounced concentration of preferences regarding material and textile importance, eclipsing other factors like as colour or patterns. The mode's size (54.7%) indicates that fabric is not only a choice but a fundamental characteristic in this cultural or stylistic context, perhaps owing to its concrete association with tradition, cultural heritage and identity. This in synch with Peirce’s semiotic theory, which is concerned with how symbols and signs convey meaning and signify cultural heritage and identity (Swenson & Cipolla, 2020; Yakin & 2014; Deacon, 2012).

On January 7, 2025, John Dramani Mahama was sworn into office as the President of the Republic of Ghana for the second time. President Mahama’s 2025 inaugural dress fashion choice drew commentaries from cultural experts, general public and fashionistas regarding its appropriateness and its tendency to foster national identity and cohesion in Ghana. This study, therefore, investigates how public perceptions of the 2025 inaugural dress fashion choice of President John Dramani Mahama contribute to fostering national identity and cohesion in Ghana.

The study found that President John Dramani Mahama’s 2025 inauguration dress fashion functioned as a significant potent cultural symbol, with overwhelmingly high number of respondents affirming its positive contribution to national identity and cohesion. The near-universal endorsement reflects public consensus on the role of traditional dress fashion in presidential ceremonies, as a great landslide majority emphasised its significance in fostering national unity. The near-universal perception held by the people that garments enhance national pride highlights fashion's ability to beyond mere aesthetics and serve as a mechanism for social cohesion. The exceptionally high youthful population dominance of super-majority being tertiary students is an indication that these perspectives may mostly reflect Ghana's youthful, highlighting a generational shift in redefining national identity through cultural revivalism. To sustain this overwhelming youthful endorsement of traditional dress that promote Ghana’s cultural heritage, the Ghanaian legislature should consider passing a National Cultural Apparel Act to promote and preserve the cultural value of traditional textiles and dress fashion in fostering national identity and unity into effective legislation. This proposal would mandate the wearing of Ghanaian cultural clothes by political officeholders and public officials during state gatherings, national celebrations, and formal diplomatic engagements. The Act may require that garments worn at these occasions utilise locally produced textiles, such kente, adinkra, smock fabrics, or other materials of regional and national significance, with designs that represent Ghana’s rich cultural history. To guarantee adherence and cultural authenticity, the legislation may create a commission consisting of traditional leaders, historians, textile and fashion designers, and cultural experts to come out with regulations on outfits or fabrics that are culturally representational and suitable for official usage.

A significant insight is the respondents' resounding emphasis on fabric, notably kente, batakari, and caps, as the most culturally significant aspect of Mahama's outfit because of its concrete linkage to Ghanaian fabric design heritage. This choice, together with supreme consensus that the outfit represented ethnic diversity, underscores the public's desire for Ghanaian political leadership to prominently promote Ghana's multiculturalism. Moreover, supermajority of the respondents recognised traditional dress fashion as a primary medium for national identity, emphasising cultural heritage as the foundation of Ghanaian cohesion consistent with the postcolonial theoretical thoughts. These insights indicate that material cultural symbols, rather than abstract concepts and ideals, are essential in defining the collective identity. To reinforce this, fashion scholars and researchers should delve into Ghana’s diverse dress culture and fashion classics for the purpose of cultural education and integration into the national curriculum, highlighting the historical and social importance of indigenous textiles while aiding artisanal communities through intellectual property regulations to safeguard and commercialise traditional designs and patterns. In the light of this, there is the need to strengthen intellectual property laws to protect indigenous textile designs such kente from appropriation, ensuring artisanal communities benefit economically from their creations.

The survey indicates overwhelming endorsement of John Dramani Mahama’s dress as promoting national cohesion to a great extent. This aligns with globally prevalent instances when political leaders use sartorial symbolism to reconcile ethnic divisions, framing cultural pride as a cohesive component. The study theorises that presidential dress fashion choices are not only ceremonial but rather deliberate manoeuvres in nation-building. Ghana should therefore consider making what a president wears for national and diplomatic engagements statutory for the purpose of reinforcing national identity and cohesion in multiethnic Ghana. In the interim, it would be beneficial for the government to implement a national protocol mandating traditional wear at state functions. The move would help institutionalise the practice and maintain cultural preservation. Simultaneously, government-sponsored initiatives, such as 'Wear Ghanaian Cultural Dress' during the celebration of existing holidays such as Republic Day (July 1st), Constitution Day, Founder’s Day (August 4th), Kwame Nkrumah Memorial Day (September 21st), Independence Day (March 6th), and commemorative days, may bolster unity via public engagement and promote Ghana’s fashion and culture, and ethnic diversity. By integrating cultural symbolism into policy and leadership practices, Ghana may use its rich legacy as a sustainable catalyst for social cohesion and global soft power.

The study was driven by a quantitative approach, relying on views expressed via items on a well-designed Google form. As such, the study is limited in offering detailed qualitative views on each of the items asked. Hence, a qualitative study aimed at generating rich qualitative views on the key issues is recommended for future studies. Moreover, future studies could use design analytical frameworks and theories in critically analysing the cultural iconography and visual symbolism of each of the Ghanaian cultural symbols in John Mahama’s 2025 Inaugural Dress Fashion Choice. This would further shed deep insights and offer a more nuanced interpretation lens on how the selected Ghanaian cultural symbols speak to the personal beliefs, aspiration and the leadership ideologies of the President in relation to the broader Ghanaian design iconography and philosophy.