Clothing and textile design is a discipline of practice, scholarship, and research, sharing many characteristics and issues with the broader discipline of design. This manuscript briefly introduces some of the history and main concepts of the design discipline and design research; presents a framework for Design Scholarship to initiate a discussion about research, and suggests ways to contribute to the larger academic dialogue on forming a design discipline. The main thrust is to argue that a different context is needed for creative scholarship; one of design research that can add to the knowledge base and help build theory in the field. The tacit knowledge of hands-on experience is distinct, but cannot remain solely with the practitioner or the artifact. Clothing and textile design has a long tradition in creative practice, but due to the increasing complexity of our world, there is a need to formally capture the knowledge of the field.Keywords design research, research through practice, clothing and textile design, design methodologies Clothing and textile design is a discipline of practice, scholarship, and research. It shares many characteristics and issues with the broader discipline of design that embraces a wide range of fields from architecture and engineering to communication design and urban planning. The design discipline is supported by academics and professional practitioners who are involved with ''defining, planning, and configuring artifacts and systems'' (Friedman, 2002, p. 200). As the field continues to evolve, designers will require empirical knowledge that is not currently available from existing models of professional design practice. The increasing complexity of our society's problems requires a foundation in theory to guide provisional solutions, identify the actions needed to reach them and evaluate the results. The purpose of this article is to briefly introduce some of the history and main concepts of the design discipline and design research; initiate a discussion and debate about the clothing and textile design discipline; and suggest how we can contribute to the larger academic dialogue on forming a design discipline. My main thrust is to argue that we need to create a different approach to our creative scholarship; one of design research that can add to the knowledge base and help build theory in our field. Different points of view are presented to give a more holistic view of the current debate. A framework of clothing and textile design scholarship is proposed.For clarification, the following definitions will be used.

Many methods have been developed to measure the body in an effort to capture its dimensions for clothing. Measuring the human body has been important in developing garments tofit the body, and systems have reflected technology, needs of the consumer, andfocus of the apparel industry. The U. S. apparel industry has developed many techniques to measure the body, including custom-fitted to the individual, mass-sized and produced, and now, mass-customized. This paper reviews and evaluates historic and current methods of capturing body measurements, which are presented as linear methods, multiple probe methods, and body form methods, that use one or more of the following elements: point, length, surface, shape, and volume.

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A seven-step design process proposed by Watkins (1995) was used as a framework to guide the development of a one-piece female-specifi c sailing garment. An objective analysis of user needs uncovered through personal interviews and participant observation led to the development of design criteria based on the user need categories of functional, expressive, and aesthetic needs (Lamb & Kallal, 1992). Th e criteria were then translated into garment attributes and used in the development of a prototype garment. Th e prototype was wear-tested and revised. Th e fi nal design combines functional, expressive, and aesthetic attributes to protect the body, maintain health and safety, and improve the wearer's sailing effi ciency as outlined by the design criteria.

This study was designed as a bottom-up approach to understanding what kind of changeable functions people desire in transformable garments by analysing a wardrobe database, participants' perceptions of garment varieties, and participants' values related to transformable garments (specifically tops, the wardrobe garment with the most observed design variability). The wardrobe database was analysed using data quantification and descriptive analysis. Style-conscious professional women, ages 20-40, were interviewed; their perceptions and values related to design variability in tops was the focus. Versatility was the most important reason for preferring specific changeable design functions. Among candidates for changeable design functions, the most preferred functions were transforming colours or patterns and sleeve lengths. Participants had three expectations for transformable garments: functional (ease of matching, ease of layering, comfort, usability, ease of care, and durability), hedonic (fun and be able to experiment with various styles), and social (context aptness and modesty).