Slow Fashion: Developing a Conceptual Apparel Design Process

168 Pages·2017·2.71 MB·English

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LSU Doctoral Dissertations Graduate School
2014
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Stefanie Ann Ramirez
Louisiana State University and Agricultural and Mechanical College
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Ramirez, Stefanie Ann, "Slow Fashion: Developing a Conceptual Apparel Design Process" (2014). LSU
Doctoral Dissertations. 2053.
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SLOW FASHION: DEVELOPING A CONCEPTUAL APPAREL DESIGN PROCESS

A Dissertation

Submitted to the Graduate Faculty of the
Louisiana State University and
Agricultural and Mechanical College
in partial fulfillment of the
requirements for the degree of
Doctorate of Philosophy

in

The Department of Human Ecology

by
Stefanie Ann Ramirez
B.S.M., Tulane University, 2005
M.S., Louisiana State University, 2011
December 2014
Dedicated to the loving memory of my parents, the late Mariano A. and the late Felicitas
P. Ramirez; without the basic foundation you left me with I could not, and would not, have made
it to this point.

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ACKNOWLEDGEMENTS
While it is almost impossible to thank everyone who provided help and support throughout
this process, I am grateful to all those in my life who have helped me reach this accomplishment.
My greatest debt of gratitude goes to my major professor Dr. Luz Elisa ‘Lisa’ Barona
McRoberts. I am appreciative for her guidance and support as well as the amount of patience, time,
and experience she provided. There are no words to describe my thanks for all that she has done. I
am inspired by her determination and passion and it has influenced me to strive to become the best
professor possible. Although our journey was not perfect, she taught me perfection is not what we
should seek. She stood by me until the very end; that will ever be forgotten.
I am incredibly appreciative of Dr. Jenna Kuttruff, interim major professor, and my
committee, Dr. Michael Burnett, Dr. Cynthia DiCarlo, and Dr. Delisia Matthews. Their willingness
to participate as members of my committee as well as their patience, time, and scholarly support are
greatly appreciated. Also, I would like to thank Dr. Loren Marks who served previously on my
committee. His constant support and insight is a blessing to all graduate students.
Additionally, a special thank you is necessary to the professors, instructors, and staff in the
Department of Textiles, Apparel Design, and Merchandising at LSU, who have contributed to this
accomplishment. Especially, Mrs. Elva Bourgeois, Mrs. Yvonne Leak, Dr. Chuanlan Liu, Dr. Ioan
Negulescu, Mrs. Pam Vinci, and Ms. Debbie Welker. Your support and advice throughout my time
at LSU will always be remembered and treasured. For my fellow graduate students: the journey is
never easy but having each other is what often made it seem like less of a battle.
The strength and courage to start and complete this endeavor would never have happened
without the loving and faith-based rearing provided by my parents, the late Mariano A. and late
Felicitas P. Ramirez. The greatest thanks go to my family for their prayers, support, and love. I am
especially grateful to my aunt, Anita Perez, for all the love and prayers she gave in this endeavor; my
cousin, Cristina Salas for her daily support throughout this journey; and my big brother, Carlos
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Hernandez, for always believing in me. Without them, and the rest of my family, I could not have
made it this far. I would also like to thank my godmothers, Julie Treviño, Rosie Hernandez, Minerva
Rodriguez and Oneida Alegria for their support.
I am exceedingly grateful for all my friends who have helped in their special ways.
Specifically, Christie Wiedmann and her family, Brittany Butler, Juan Carlos Ortiz, Ryan Aldridge,
and Claudine Smack. Additionally, the greatest thank you for immense love and support through this
journey goes to my New Orleans family. We might not have been blood relatives but the bond we
have is just as strong: Melissa Mendoza, Courtney Ordone, Ghislaine “Gigi” Camey-Ubilla, Katie
Brown (Zumwalt), and Dreama Goldsmith. I’d like to also thank other friends who have cheered me
on along the way : Richter and Michelle Fridman, Michael Gomez, Krystn Hammond, Wallace
‘Bamm’ Mateen, April Mendoza, Larissa Miller, Jessica Neveu, Kelsey ‘Dobby’ Robinson, Ella
Rose, and Jessica ‘Lil Bit’ Walther. While the list of friends may not be complete, I remember each
push towards the finish line.
Ultimately, I give the greatest thanks and praise to G-d who got me through this and brought
such amazing people into my life.
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TABLE OF CONTENTS
ACKNOWLEDGEMENTS………………………………………………………………… iii
LIST OF TABLES………………………………………………………………………….. vi
LIST OF FIGURES………………………………………………………………………… viii
ABSTRACT………………………………………………………………………………. ix
CHAPTER ONE: INTRODUCTION……………………………………………………… 1
CHAPTER TWO: REVIEW OF LITERATURE………………………………………….. 11
CHAPTER THREE: METHODOLOGY………………………………………………… 39
CHAPTER FOUR: CONTENT ANALYSIS AND DATA COLLECTION……………… 54
CHAPTER FIVE: RESEARCH FINDINGS……………………………………………… 85
CHAPTER SIX: CONCLUSIONS AND DISCUSSION………………………………… 109
REFERENCES……………………………………………………………………………. 125
APPENDICES
A PERMISSION TO REPRINT………………………………………………………… 137
B SLOW FASHION APPAREL DESIGN PROCESS:
INTERVIEW CONSENT AND SEMI-STRUCTURED INTERVIEW QUESTIONS.. 139
C IRB EXEMPTION APPROVAL……………………………………………………… 141
D SLOW FASHION APPAREL DESIGN PROCESS SURVEY (HARD COPY)……… 142
E E-MAIL INVITATION TO PARTICIPATE…………………………………………... 155
F INTERVIEW INVITATION TO PARTICIPATE……………………………………... 156
VITA………………………………………………………………………………………... 157

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LIST OF TABLES
Table 1: Slow City Membership Criterion…………………………………………….......... 21
Table 2: Principles of Slow Design…………………………………………………………. 27
Table 3: Guidelines to Slow Fashion for consumers……………………………………...... 28
Table 4: Guidelines to Slow Fashion for businesses………………………………………... 29
Table 5: Slow Fashion movement principles……………………………………………...... 32
Table 6: Interview Schedule………………………………………………………………... 53
Table 7: Frequency of Slow Fashion Terms ……………………………………………...... 57
Table 8: Design Criteria for Slow Fashion Apparel Design Model………………………... 69
Table 9: Design Criteria for Design Framework…………………………………………… 71
Table 10: Categorization of Slow Fashion Design Criteria (FEADO)……………………... 74
Table 11: Voluntary Categorization of Slow Fashion Apparel Design Criteria (FEADO)… 76
Table 12: Additional Design Criteria Categorization………………………………….…… 78
Table 13: Categorization of Slow Fashion Design Framework Criteria……………………. 79
Table 14: Voluntary Categorization of Slow Fashion Design Framework Criteria………… 82
Table 15: Demographic Profile of Participants……………………………………………... 86
Table 16: Reconfigured Participant Specializations ……………………………………...... 88
Table 17: Participant Expertise …………………………………………………………...... 89
Table 18: Teaching Engagement …………………………………………………….……... 90
Table 19: Creative Scholarship (CS) Engagement …………………………………..…….. 91
Table 20: Adjusted Design Criteria for Slow Fashion Apparel Design Process Model……. 93
Table 21: Adjusted Design Criteria for Slow Fashion Apparel Design Framework……...... 95
Table 22: Interview Content Analysis of Description of Slow Fashion……………………. 100
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Table 23: Functional, Expressive, Aesthetic, Design and Other Slow Fashion Criteria…… 101
Table 24: Functional, Expressive, Aesthetic, Design and Other Slow Fashion Criteria
Content Analysis Frequencies…………………………………………………… 104

Table 25: Framework Considerations………………………………………………………. 106
Table 26: Final Design Criteria for Slow Fashion Apparel Design Process Model………... 111
Table 27: Interviewee Criteria for Consideration Categories in Slow Fashion Apparel
Design Framework ……………………………………………………………… 114

Table 28: Final Design Criteria for Slow Fashion Apparel Design Framework…..………. 115

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LIST OF FIGURES
Figure 1: Lamb & Kallal (1992) FEA consumer needs model…………………………….. 14
Figure 2: Lamb and Kallal Apparel design framework……………………………………. 18
Figure 3: Slow Fashion Design Considerations Model……………………………………. 69
Figure 4: Lamb & Kallal’s (1992) FEA Model Design Process Incorporated with Slow 73
Fashion Apparel Design Framework…………………...………………………...

Figure 5: Final Slow Fashion Apparel Design Considerations Model…………………….. 116
Figure 6: Figure 6: Lamb & Kallal’s (1992) FEA Model Design Process Incorporated for 117
Slow Fashion Apparel …………………………………………………………...

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ABSTRACT
The purpose of this study is to explore the application of a pre-existing apparel design
process model and design framework to the development of a conceptual slow fashion apparel
design process and framework. A content analysis of slow design and slow fashion literature
identified 38 themes related to specific design criteria, which were applied to design
considerations from the Lamb & Kallal Functional, Expressive, and Aesthetic (FEA) model
(1992). Additional design considerations were revealed due to the nature of the research topic
and relationship to the stages in the applied design framework. For the Slow Fashion Apparel
Design model five considerations were established: functional, expressive, aesthetic, designer,
and other. The Slow Fashion Apparel Design Framework established six considerations
associated with six stages of the apparel design process framework: material, quality, production,
design, evaluation, and implementation. Design criteria were placed into each consideration
category according to design theory and Lamb & Kallal’s model and framework.
A sample of 71 textiles, apparel design, and merchandising professionals with
membership in the International Textiles and Apparel Association completed a survey regarding
the application of the design criteria found in the content analysis to the design considerations
established using the FEA model. Apparel design participants from the sample who volunteered
for a follow-up survey were interviewed regarding creative scholarship and apparel design
processes. Analysis of survey and interview results revealed a differentiation in the application of
design criteria within the design considerations established for the design process model and
design framework. These differentiations were divided into required, highly recommended, and
recommended design criteria. The Slow Fashion Apparel Design Process model had 17 design
criteria across five considerations distributed into the three levels of importance. The Slow
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