Regency dress is worn today by members of historic groups such as the Jane Austen Society. The historic style of dress plays a major role in the activities of Regency groups. Therefore, the purpose of this research was to examine the design decisions related to the personal needs and the desire for authenticity of reenactors creating Regency gowns as a historic style of dress. Data were collected using a netnographic approach. Blogs discussing the creation of 19 Regency gowns made by reenactors were analyzed to determine how the designers balanced their personal needs with their desire for authenticity. The gowns discussed in these blogs were made to be both wearable and authentic; thus, three major categories emerged from the data: personal needs, authenticity, and limitations encountered when creating Regency gowns. Finally a model, Historic Styles of Dress Design Considerations Model, was developed. Keywords design process, FEA model, historic clothing Today, there are roughly 4,500 members in the Jane Austen Society of North America (1994-2016). The members of this society celebrate a time period in which Austen would have lived, often called the ''Regency'' period. Although the term Regency is appropriately used to describe the time period from 1811 to 1820, in which the Prince Regent was heir to the throne of England and acted on behalf of King George III (Staniland, 2000), the term is often used to refer to a larger time period from 1795 to 1820 by hobbyists. Aside from Jane Austen groups, there are many other societies worldwide that revere the Regency period, and members frequently meet together for reenactment events such as balls and teas. During reenactment events, female members are encouraged to wear Regency gowns that mimic the styles, fabrics, and colors that were fashionable from the historical time period past (see Figure 1). Throughout the period, gowns had a tubular silhouette with a long skirt; a round, low neckline; an empire waistline; short, puffed, or tubular sleeves; and a small amount of back fullness created by gathering at the waistline (

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This study investigated how film franchise fans with varying levels of fanship perceive subtle versus explicit signals featured on fan-themed apparel products. A between-subjects experimental design was conducted with two fan-themed t-shirt designs (explicit vs. subtle) × fanship (low vs. high). In this study, the joint effect between subtle vs. explicit designs and fanship was examined to address perceived differentiation, social connection, and purchase intention. For perceived differentiation and social connection, fans with high fanship perceived the subtle design to be more effective than explicit designs. While fans with low fanship perceived the subtle design to be more effective for differentiation, they perceived that the explicit design facilitated social connection more than the subtle design. When fans perceived that signals featured on fan-themed apparel products differentiated themselves from others and facilitated social connection, their purchase intentions increased. The study yielded several theoretical and practical implications. First, the study contributed to the literature on signaling theory, extending the definition of subtle signals to include a more diverse range of design details, such as the content of graphics rather than the visibility and size of brand logos. The study also extended the use of signaling theory and optimal distinctiveness theory to new research areas of fan-themed products. Second, practical implications for producers, marketers, and retailers of fan-themed apparel included the consideration of developing fan-themed apparel with subtle signals, co-creating products with fans, and targeting female fans through more inclusive merchandising practices.

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