This research explores the dressing patterns of two generations of women with similar educational levels, and both located in the upper Midwest, USA. Based upon a review of the theories about dressing, the expectation was that differences in patterns of dressing would arise between the two groups that differed in age and generational cohort group. This is significant in today’s milieu in which sustainable best practices from fast to slow fashion are encouraged and differences in generational groups could change the approach to intervention. The total sample of 115 females included two groups, the first numbered 55 with an average age of 73 years and the second numbered 60 with an average age of 20 years. Participants responded to a survey focused on the contemporary American woman. The two groups were asked the same questions about how they desired to appear, how they strategized about their wardrobe and putting together of ensembles, and their shopping patterns. Analysis included a comparison of responses of each group. There were a few differences in patterns of dressing based upon age and generational cohort group, but the number of similarities pointed to other influences such as the similar location of the two groups.
Over-consumption by consumers is a significant challenge to sustainability. Technology, such as that of virtual wardrobes, can suggest options that may reduce excessive consumption. A virtual wardrobe is a service that allows users to create and manage their wardrobes digitally. It also helps users to realize what they have in their wardrobes and can recommend appropriate styles of clothing for the users based on an analysis of the wardrobe. From the perspective of consumer characteristics, this research investigates what motivates consumers to adopt and use virtual wardrobes and proposes marketing strategies for addressing these behaviors. Fishbein’s attitude theory was used as a theoretical framework. By surveying 265 U.S. college students and using structural equation modeling analysis, the study shows that consumers’ socially responsible consumption behavior and personal innovativeness in information technology positively affect their attitude toward virtual wardrobes, which, in turn, increases their intention to use virtual wardrobes. However, their personal shopping value and fashion involvement have no significant impacts on consumers’ attitudes toward virtual wardrobes. The findings indicate that marketers of virtual wardrobes should highlight social responsibility and technological innovation in product and service promotions. By gaining insight into their wardrobes, consumers can be more strategic about clothing consumption, use, and disposal.
A bag is a daily article carried in one's hand or on one's shoulder for things as well as a fashion item. The functions of a bag were derived to include portability, decorativeness, brand identity, message communicability and cultural identity. Souvenir bags sold at a gallery or a museum are goods to maximize the cultural identity of a bag based on national emblems, exhibitions and characters as design motifs. Based on the typological analysis of souvenir bags showing cultural identity, this study developed a design with a motif of Hanbok from Korean traditional cultural content to develop a tote bag design that reveals Korean cultural identity. Under a traditional Hanbok motif colors, sizes and patterns were reinterpreted in a modern perspective. For such a research purpose, 8 kinds of tote bags were developed. A tote bag design that reflects Korean cultural identity will contribute to raising the potential to develop cultural goods that are modern, popular and differentiated in the global market.
Mentor Statement: This design was created as an outcome of a final design project in an undergraduate portfolio development course. The purpose of the project was to find an old, shabby, and useless material or product that the student had kept for a while but no longer use and recreate that in a creative way through upcycling. Students had to suggest 2 design ideas with design boards including illustrations and technical flats created by Adobe Illustrator and Photoshop. One of these design ideas was selected and the actual product were created as a result. As a design mentor, I introduced various design approaches of upcycling fashion and provided feedbacks in every step. The reason why I decided to sponsor her work is that her outcome meets the need of successful upcycled product-functionality, aesthetics and sustainability. Also, her work does not only have a high quality, but also has a great story behind it that express her unique identity. Statement of Purpose:Growing up, I enjoyed alternative clothing; from simple statement pieces to avant-garde streetwear, it all captivated me. Raised in a strict household, though, I had little or no opportunity to express myself verbally or aesthetically. In middle school a friend gave me a pair of Tripp pants she had outgrown. They were the epitome of cool. When I put on the black stretch denim, with its studs, zippers, and iconic waist chain, I felt invincible. After dressing in my darkest clothing, I was ready to leave for school. My mother was waiting at the door; she made me change then cut up and threw away those precious Tripp pants. Ever since then, alternative styles, especially the Tripp brand, have symbolized rebellion and freedom. When I started to make my own way in the world, buying a new pair of Tripp pants was a tangible expression of independence -my rebel flag. I wore those pants until they didn't fit, then retired them to a frame on my wall. When asked to create an upcycled product with sustainability in mind, I knew it was time to breathe new life into my Tripp pants. Aesthetic Properties and Visual Impact:The mood and aesthetic of this design is "punk". Punk can be defined with the notion of "Do-It-Yourself" (DIY) style (Dunn, 2016). Multiple aesthetics can express punk, including dress, make-up and hairstyles. There are various iterations of "punk" or "punk style", but certain distinctive pieces emerged in its earliest incarnations, such as plaid bondage pants, black leather jackets, and vivid-colored Mohawk haircuts (DeLong & Sklar, 2012). Originally, my Tripp pants were neon yellow superimposed with green plaid. To keep the plaid, but make it more subtle, pieces of the2020 Proceedings Virtual Conference
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