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The purpose of the study was to determine the perception of apparel quality based on perceived physical attractiveness of both the observer and model. Although there is research about apparel quality, what people view as physically attractive, and how people determine what is attractive, there has been little research about the relationship between these variables as well as observer background.Ninety-three Fashion Merchandising/Apparel Design and non majors completed one of two versions of a survey. The survey was presented on-line and included a picture that participants were asked to assess model attractiveness and apparel quality. A second version included a different model wearing similar clothing. Participants were also asked to rate their own attractiveness in relationship to the model and what quality features they consider when purchasing clothing.Frequencies and a two way ANOVA analysis revealed a statistically significant difference for model viewed/survey completed. Ratings of quality characteristics correlated to form a scale of quality. Education background influenced responses. / Department of Family and Consumer Sciences

This thesis examines the development, production and function of dress pins in Anglo- Saxon England. It proposes a dated typology for the mid-5th to the mid-llth century and notes the implications of this for discussions of contact and cultural interaction between England and other parts of Europe. Chapter 1 defines the parameters of the study, and describes the data that was assembled on Anglo-Saxon pins. An evaluation of the previous work on pins from Northern Europe (Chapter 2) is followed by an investigation in Chapter 3 of the methods and process of typological analysis. After arguing that one of the most important (and neglected) aspects of typological research is 'the process of study1 the chapter provides terminological definitions for the components of pins. Chapter 4 examines the problems, principal methods and developments in pin production and discusses how changes in method reflected changes both in fashion and metalworking techniques. Building on this, Chapter 5 defines the groups of pins that have been found on sites of the Anglo-Saxon period, including: (1) definition of the types and sub-types; (2) determination of their date ranges; (3) description of their distribution; and (4) suggestions about the origin of each type. In Chapter 6 the types are put into chronological order, to demonstrate which types existed simultaneously and how pins developed over time. The function of pins is considered in Chapter 7 and several tentative hypotheses are put forward. The final chapter draws a number of conclusions from the study including: (1) Anglo-Saxon pins display a great deal of insularity during all periods, but particularly in the 8th and 9th centuries; (2) while regionalism may have been a feature of 6th century pins, it ceases to be important by the 8th century when many finds from middle Saxon trading sites seem consistently to be the same types, suggesting that in addition to trade between England and the Continent and Scandinavia it is time to evaluate the micro-economic and information exchange networks in Anglo- Saxon England; (3) lastly it notes the problem of dissemination of artefactual analyses and the difficulties to be encountered in using typologies and it puts forward a preliminary proposal for the use of expert systems (computer programs that simulate human performance in specialist task areas) as a tool to distribute this information. An example of a knowledge base that might be used to disseminate the typology presented here, The Anglo-Saxon Pin Identification Assistant, is to be found in Appendix 2, as are several sample identification sessions.

The Islamic dress code has been forcibly imposed on the women in Sudan, since 1983, and many feminists researchers have criticized the practices of the veil as a tool to oppress women. This study aimed to explore a group of Sudanese women, currently living in South Africa, experiences and perceptions of the veil, whether the veil is a religious dress code or a tool that has been used to exercise inequality.

Dress and appearance constitute the visual realm in the dialectic of identity construction and are powerful communicators in this process, since dress and appearance are the symbolic means by which we locate ourselves and others through interaction within social contexts. Dress is used to differentiate and create boundaries for group belonging and exclusion, and in the uniform has been understood to have a capacity to suppress individuality and to identify the wearer with objectives beyond the self. Adolescence is a time of intense identity work and in New Zealand coincides with secondary schooling during which school uniforms are usually worn. Is freedom in dress necessary for development of personal identity? The effects of same-dressing on identity development in adolescence were investigated in the context of the history, practice, and meanings of school uniform in New Zealand secondary schools. This was investigated through a nationwide survey, analysis of selected school photographs and records, interviews with students, review of legal and bureaucratic structures supporting the practice, and review of the literature of school uniforms, and education and social history of New Zealand. A combination of qualitative and quantitative methods contributed to analysis of both dress practices in wider New Zealand contexts, and more personal use of dress in the formation of personal identity. Analysis of school uniforms as mechanisms of power, constituting both the student and the self, drew on symbolic interactionist theory and on Foucault�s later interpretations of power, while also linking material culture and social structures. New Zealand has a strong and continuing tradition of school uniform in secondary schools, yet this practice is characterised by change, variety, and differences, challenging the sameness which uniforms are supposed to embody. Meanings and functions of uniforms have changed considerably over the twentieth century, evolving through extreme and diverse expressions of the expectations of social, political, and education systems towards their young people, and mediated in turn by students themselves. While school uniforms both manifest and mediate the power of the school over the bodies of children, the power embodied in uniforms is not always and only a repressive power, but is also a generative, productive power. Students described uniforms as a form of shelter and protection, embodying belonging and participation in the school and a projected future of success and engagement in adult society and work. Uniforms also maintained a breadth of possibilities consistent with a fluid class system and egalitarian ideals of New Zealand society. While students believed self-expression essential for the formation of a self, they believed this need could be met through the use of minor differences in uniforms, while uniforms allowed them to retain the advantages of group belonging. Schools allowing some personal expression effectively strengthened the sense of belonging and participation, by maintaining the individual in positive relation to the group. The interaction that creates a self consists in symbols, involving meanings, appearances, and communication: differences and similarities from part of these complex interactions.

Fashion scholarship has prospered since the 1980s. Yet in spite of the stimulating research in this field, principally in the domain of design, gender, media and cultural studies, only a handful of scholars have written about fashion�s relationship with the artworld. This, inspite of the artworld increasingly drawing upon the idiom of fashion - �the new�, �the now� and hype, and the evolvement of sartorial fashion into an exciting new artistic medium as the result of an increasingly experimental attitude towards design. This thesis considers the idiom of fashion as part of art-making, and how we might critically approach fashion design as a visual arts practice. The relationship between fashion and the artworld is explored using the ideas of intersection, interplay and collusion. In utilising these ideas to explore the rapport between fashion and the artworld the multi-faceted nature of fashion�s relationship with the artworld, the slippages between the commercial and creative imperatives of fashion, are brought to the surface. This project grew out of a �debate� emerging in the 1980s and 1990s and occurring in articles and exhibitions which sought to identify and elaborate on a closer rapport between fashion and art. Based on this �debate� six sites of connection are considered, beginning with a discussion on writing about fashion from a visual arts perspective, and where a range of proponents and proposals are considered. The thesis then shifts to an analysis of the February 1982 special issue of Artforum which featured a garment designed by Issey Miyake on its cover. This is followed by an exploration of the value attached to fashion in the artworld. The fashion designer�s self-construction as a visual artist is the subject of the next chapter, followed by a look at the emergence of Conceptual Couture - ideas-based fashion. The final chapter considers fashion in the exhibition environment.

Thesis (B.A.)--Haverford College, Dept. of Religion, 2007. / Includes bibliographical references.

Thesis (Ph.D.)--University of Wollongong, 2004. / Typescript. Includes bibliographical references (p. 330-338).

Thesis (MA--Art and Design) -- Auckland University of Technology, 2003. / Also held in print (98 leaves, ill., 30 cm.) in Wellesley Theses Collection (T 306.766 DEV)

Thesis (M.S.)--Virginia Polytechnic Institute and State University, 1992. / Vita. Abstract. Includes bibliographical references (leaves 129-133). Also available via the Internet.