The authors used socioanalytic theory to understand individual differences in people's performance at work. Specifically, if predictors and criteria are aligned by using theory, then the meta-analytic validity of personality measures exceeds that of atheoretical approaches. As performance assessment moved from general to specific job criteria, all Big Five personality dimensions more precisely predicted relevant criterion variables, with estimated true validities of .43 (Emotional Stability), .35 (Extraversion-Ambition), .34 (Agreeableness), .36 (Conscientiousness), and .34 (Intellect-Openness to Experience).

Moving forward indirectly: Reanalyzing the validity of employment interviews with indirect range restriction methodology.

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Fashion designers, especially wearable art designers, often explore fine art drawings as sources of inspiration. Collaborations between wearable art designers and fine artists occurred not only in contemporary fashion world, but can be traced back to the 19 th century, and bloomed in the early 20 th (Mackrell, 2005). Many famous designers in the 20 th century collaborated with artists to create representative works establishing their position in the field of fashion. One of the most famous and successful collections derived from fine art, Mondrian Look, was designed by Yves Saint Laurent in [1965][1966]. For Mystic Girls and Butterflies, a piece of wearable art, the designer was inspired by an experimental drawing titled CN-III, created by the collaborating artist. For CN-III, the artist used figurative representation and formal abstraction to create multilayered meditations upon time, space and a particular sphere of existence. The goal of this experimental drawing was to print multiple digital drawings on separate sheets of clear plastic. All the printed plastic images were stacked together to create one, two and a half-dimensional image. In CN-III, thousands of lines and shapes to translate complex spatial relationships between people, places and things familiar to the artist. Thus, the purposes of creating this piece of wearable art were to: (a) experiment utilizing fabrics to emulate spatial relationships and (b) explore digital textile printing, 3D printing technologies, and handcraft techniques to transform a two and a half-dimensional drawing to three-dimensional garment.Digital textile printing technology has been widely used in fashion education and industry for over 30 years. Its advantages include fast production, high resolution, low waste levels of water, and maximizes high energy efficiency (Memon, 2012). The designer used digital textile printing technology as the main design concepts to transfer the CN-III drawing onto the fabrics. The initial drawing was finished in Adobe Photoshop with multiple layers, which place the objects file at. Each layer contained a line drawn object illustrating the concept of perspective. The designer combined several layers and divided the layers into six groups according to the objects categories, and the perspectives of the space. Garment flat patterns were created in Lectra Modaris Classic 2D V7R2, then fitted to a body form, and modified by draping for examining the accuracy of the flat pattern. The final paper patterns were digitized into Modaris system and converted into DXF files to be opened in Adobe Illustrator to engineer the print. In order to represent the space via a garment, there were three layers of two kinds of fabric used, cotton sateen and 8mm silk organza. Cotton sateen is the base layer not only because of its stiffness and the characteristic of high chromaticity with digital printing, but also represents the bottom layer of the inspiration art work due to its dull surface. The purpose of using two layers of the silk organza was to establish the...

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IntroductionCollaborations between fashion designers and artists, traced back to 19 th century, bloomed in early 20 th century when fashion became a modern desire and was mass producible (Mackrell, 2005). Due to the complexity and ambiguity of the wearable art design process, wearable art designers usually explore inspirations from a multiplicity of sources, sometimes drawing from fine arts. Collaborations often occur between wearable art designers and artists that contribute differential resources and various talents to achieve complementary goals (Dodgson, 1994). For this design process study, the initial goal was to develop a framework for: (a) initiating and completing collaborative design projects, (b) evaluating the design ideas involving a wearable art designer and an artist who provided the artwork as the inspiration, and (c) integrating a review critique into the design process by presenting design ideation to a professional reviewer (with fashion design and wearable art background), an industrial designer, and collaborating artist. ExperimentationThe artwork used as inspiration for this wearable art design was CN-II created by the collaborating artist. Before developing the wearable art, the designer visited the gallery that exhibited a series paintings of the artist and interviewed the artist in the gallery to comprehend the concept of the paintings. Based on the ideas of the painting and discussion with the artist, the designer started creating a series of sketches regarding the silhouettes for the wearable art piece. The sketches were sent to the professional reviewer for the review critique of the silhouettes and fabric options. A total of six silhouettes were finalized according to the discussion between the designer and the professional reviewer. The designer then developed final fashion illustrations along with the six silhouettes and the textile prints based on the drawing CN-II.In order to collect the trustworthy feedback for the six designs, the designer developed a web-based survey including a detailed description of each design idea, fashion illustrations, score options according to the aesthetic of the design, and open-ended comments. The link of the webbased survey was sent out to the artist, the professional reviewer and the industrial designer to that each could the score aesthetic concept and reflections for each design. The designer collected the quantitative and qualitative data to compare with her own self-reflections about each design idea.One of the designs was rated the most successful design. According to the comments and suggestion about that design, the designer modified the fashion illustration and sent back to the review critique members through email for the second round of review. There were three rounds ProceedingsSt. Petersburg, Florida of reviews via emails until the design was agreed by each group member. The aims of the reviews were to determine whether the: (a) the wearable art expressed the spirit of the drawing, (b) wearable art reflected the overall aesthetics, ...

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