Search results

The purpose of this research is to investigate users’ expectations and preferences for transformable design functions of transformable party dresses to extend the life cycle of the clothing. With transformable design elements added to a party dress, a user can wear her one-event dress more than once, encouraging sustainable consumption. Rather than looking for a new dress, users can wear their party dress with one or even several new looks.

Data were collected through purposive sampling from female college students who had purchased at least one party dress. The survey questionnaire was self-developed based on the literature review and consisted of items that measured fashion behavior in relation to party dresses; shopping orientations, focusing on confident/appearance and fashion-consciousness, economic/price consciousness and convenience/time-consciousness; perceived importance of design and functional elements in party dresses; perceived reasons for the limited use of party dresses; perceived importance of design elements of transformable dresses; purchase intention for transformable dresses; and demographic characteristics.

As consumer groups of diverse shopping orientations demonstrated purchase intentions for transformable party dresses, transformable features may become an important component of party dresses. Considering the main reasons for users’ limited use of party dresses, designers need to improve the versatility of the dresses’ design and functional elements, focusing on style and occasion, dress length, size/fit, silhouette and color/pattern, so that users can wear their party dresses more than once and ultimately enhance their sustainable apparel consumption practices.

The findings regarding users’ expectations and preferences for transformable party dresses can help apparel designers and fashion businesses understand potential users when developing transformable dresses and develop strategies to help with sustainable apparel consumption.

In the process of designing new clothes, designers should identify specific user groups’ preferences and attitudes toward certain types of design, ascertain the design elements that make clothes popular in the market, and combine these elements to devise the best clothing design scheme. The purpose of this paper is to discover which design elements influence dress purchases and how age affects consumers’ choices in regard to these elements.

This study uses conjoint analysis in dress design to provide an effective method for designers to identify consumers’ preferences. First, the important attributes and attribute levels of dress design were determined. Next, the experimental samples for the attitude measurement chart were generated by orthogonal design. Finally, the data of 318 samples were analyzed by conjoint analysis to determine consumers’ preferences.

The results revealed that the “silhouette” attribute is the most important decision criterion for dress purchase, followed by the “dress length” attribute. In contrast, the “waistline height” attribute is perceived as least important. The study also identified the dress design features’ preferences of consumers of different ages. According to the results of the analysis, user groups’ preferences and acceptability regarding different design features were revealed, and the favorite dress design portfolio for age-specific consumers was obtained.

Currently, there is little information in the literature about consumers’ preferences regarding dress design. In this study, the use of conjoint analysis reveals and visualizes complex statistical results. This research approach is also applicable to the design and decision-making processes used for other apparel, and it can help designers better incorporate different users’ needs into clothing design.

The purpose of this paper is to develop a dress design knowledge base (DDKB), which is expected to be further applied to a personalized dress recommendation system.

Dress design knowledge can be expressed as the relationship between designer's fashion perceptions of different dress elements. In order to extract dress design knowledge, a dress shape ontology (DSO) is firstly developed, which can be further used to form a dress element matrix (DEM). A perceptual descriptive space of the dress (DPDS) is developed for the description of the designer's fashion perception of dress. Through a standard sensory evaluation procedure performed by experienced experts (designers), the expected relationship can be obtained. This relationship is then mathematically simulated by fuzzy logic tools for the expected DDKB.

In this paper, a DDKB has been developed. The established knowledge base has been validated, and it can be further applied to dress recommendation system for a specific consumer.

This study introduces the concept of knowledge base to the area of dress individualized design. The knowledge-based design process based on sensory evaluation and fuzzy logic can efficiently solve the individualization of dress design in traditional design processes, which can provide a novel way to dress design individualization.

The purpose of this study was to collaboratively design eight professional dress ensembles incorporating Hejazi tribal embroidery and to evaluate Saudi female academics’ perceptions about those ensembles as appropriate for professional attire. The concept aimed to offer the potential for increased cultural identity by wearing modernized ethnic dress as everyday workplace attire that was relatively practical, affordable and expressive of Saudi cultural identity.

The goal in this research was to engage Saudi female academic professionals in designing clothing that integrated Saudi textile and costume traditions into contemporary styles appropriate for the academic work environment. Two models guided the research. The FEA model (Lamb and Kallal, 1992) was used to organize the questions in the survey questionnaire around an integration of culture with functional, aesthetic and expressive aspects of apparel. The second model guiding the research was an adaptation of the USAP participatory co-design model (Demirbilek and Demirkan, 2004). This model was used to engage study participants in the design process.

Qualitative results showed that participants were willing to wear the garments in this study, as the garments represented heritage, looked contemporary in terms of style lines, had comfort and interchangeable garment components, embroidery and printed fabric, fabric used in garment designs and color. Quantitative results showed that the ratings for the final garments were generally higher than the first sketches in the first phase. Results of the eight designs in the collection revealed that the aesthetic aspect was the most referenced by the participants among the FEA aspects. Results also indicated that silver waves design received the highest rating among the designs in terms of FEA aspects.

This research provides greater understanding of the ethnic culture of the Western region of Saudi Arabia for Western scholars. Previous research has indicated an interest in having garment manufacturing take place in Saudi Arabia (Turkustani, 1995). Findings from this research may lead to future study on the state of apparel production in Saudi Arabia and the potential feasibility of establishing a center for training in digital technology to support small business opportunities for Saudi women who are trained for work in the apparel industry.

A suitable dress form is necessary for patternmaking when manufacturing a garment for the global market. The purpose of this paper is to investigate the similarities and differences in visual impressions and preferences of dress forms between Japanese and British female university students.

The authors carried out sensory evaluations of the visual impressions of dress forms using images of four forms made in Japan, France, the UK and the USA. The participants (18 Japanese and 11 British female university students in their 20s) assessed them using the semantic differential method. In total, 22 adjective pairs concerning style, image and preference factors were used. The authors performed a principal component analysis on the results for style and image. For preference factors, one-way analysis of variance was used to analyze whether there was a difference in preference between the dress forms.

The Japanese students evaluated dress forms by considering balance and cool (fashionable) as the first principal component, and frailty and delicacy as the second. A large bust-to-waist ratio strengthens the impression of the latter component. The Japanese preferred dress forms of the kind worn by fashion models. Their preference was heavily influenced by the first principal component, but this preference decreased when the dress form evinced a weak impression. The British students assessed dress forms using healthy and cool (fashionable) as the first principal component, and frail and thin body as the second. A ratio of the width of the shoulder to that of the waist (at the front) of 1.6:1 and a rounded back shape from the side view were considered healthy.

These results can help understand the Japanese and British customers’ impressions and preferences on the dress form. Moreover, apparel manufacturers choose a suitable dress form to manufacture garments for the global market, by considering similarities and differences in people’s preferences.

For over a century, traditional Japanese cotton crepe fabrics have been popular for men’s underwear in the humid summer. Now, consumer demand is for crepe fabrics that are more attractive, reflecting a shift in use from underwear to women’s dresses. The purpose of this paper is to clarify how the structures of the crepe and its constituent yarns affect the physical properties, handle and silhouette formability of crepe fabrics for dresses.

Three plain-weave gray fabrics were finished by four different processes to change their crepe structures. The mechanical and surface properties of the fabrics were measured using the Kawabata evaluation system for fabrics. The primary hand values and silhouette formability of the fabrics were calculated using conversion equations based on the physical properties. The handle of the crepe fabrics and the aesthetic appearance of flared collars made of them were assessed by female students using the semantic differential method.

Comparing the fabrics made from the same gray fabric, the piqué crepe fabrics showed larger Hari (anti-drape) and Shari (crispness) than the others. The subjective hand value of softness was closely related to fabric thickness. The assessors preferred the fine piqué crepe fabrics over the wide piqué fabrics regarding both the tactile feeling of the fabrics and the aesthetic appearance of the flared collars. The attractiveness of the flared collars was dominated by the shear stiffness of the fabrics.

The fine piqué crepe fabric made from fine yarns produced a more preferable handle. The fine piqué fabric made from thicker yarns produced flared collars with silhouettes that are more attractive. This indicates that the fine piqué structure is a positive feature that makes the fabric suitable for various types of dresses.

This collaborative paper presents three case studies on four scholars' experiences with remote data collection. The authors highlight the challenges and strengths of online qualitative research across three disparate projects: an interdisciplinary exploration of matrilineal heritage, an examination of Irish women's sexual identity and an investigation of dress practices among Tz'utujil-Maya.

Qualitative researchers traditionally go into the field to explore and understand social phenomena. At the onset of the COVID-19 pandemic, while people faced the daily realities of a worldwide crisis from within their homes, remote data collection became a necessary strategy to pursue knowledge. As a result, researchers adapted to unknowns regarding recruiting, scheduling, technology, interviewing and analysis.

Participant and researcher experiences during the adaptation to remote interviewing yielded important lessons on research strategies.

Outcomes from these studies highlight the potential value of online data collection alongside the necessity for flexibility in designing and conducting qualitative research.

This study adopted the functional, expressive and aesthetic (FEA) consumer needs model, aimed to examine the influence of consumers' FEA perceptions of three-dimensional printing (3DP) integrated apparel products on their product satisfaction and purchase intention.

An online survey was employed with a sample of 332 participants (165 female and 167 male) aged 19 to 76, mean age of 35 years. A gender-neutral, 3DP integrated hooded sweatshirt was developed for this study featuring flexible, white 3D printed insets fabricated with an FDM 3D printer and white TPU filament sewn with traditional gray knit fleece.

The findings of this study suggest that the FEA model is appropriate in predicting consumers' satisfaction with 3DP integrated apparel products. Specifically, aesthetic (perceived beauty) and expressive (perceived coolness) dimensions are more influential than functional factors, except for the positive influence of perceived fit, in predicting consumers' satisfaction and purchase intentions for 3DP integrated apparel products.

Future studies could consider data collection from participants' physical fit testing or try on evaluation to determine the importance of the functional dimension in consumer response to 3DP integrated apparel product. Future studies could also examine full 3D printed apparel, or other 3DP integrated wearable products to expand the understanding of consumer perception of the application of 3DP technology.

Despite the increasing exploration of 3DP integrated apparel products and industry attempts to make this innovation in apparel more mainstream, research on how mainstream consumers perceive such 3DP integrated apparel products is limited. This study addresses this gap, providing critical implications for future research and design.

Recent research suggests that consumers want individual needs met and that companies can work towards customizing products while still mass producing them. Co‐design, a consumer‐producer collaborative design endeavor, is one way to accomplish both. The purpose of this research was to explore consumers’ participation in and reaction to a CAD‐supported scenario of co‐design for mass customization. Aided by a design manager, 34 female college students co‐designed a three‐piece career outfit by choosing from a style bank of garment components. Subjects were comfortable with the process; most found it easy and were satisfied with the output. Ease of designing and satisfaction with images were positively correlated. Application of clothing involvement and innovativeness measures suggested possible characteristics of subjects who were more or less comfortable with co‐design and those who found it easier to make decisions. Results suggested the feasibility of co‐design from the consumer’s perspective and the need for further research.

THE earliest libraries in any kind of community were run by interested members of the community with enthusiasm but no special training. Their communities asked them for very little more than they could get or do for themselves but did not care to find the time for, and because the librarian was one of their own, but no longer functioning fully in their world, the members of the community tended to have, however loyally or gently, a lower opinion of the man and consequently hisoffice. For the failed academic or businessman this was little less than just, but it was quite unjust to the profession of librarianship.