Tall women's satisfaction with Tall clothing was examined in regard to fit, style, and accessibility. In addition, anthropometric measurements (stature, neck to waist, waist to ankle, shoulder to wrist) of tall women were compared with reported fit problems with Tall clothing, with the measurements from commercial standard PS 42-70, and with two racial groups. Data were gathered from 75 women who were at least 5 feet 8 inches and between 18 and 54 years old. The subjects were satisfied with the overall fit of Tall clothing, but were dissatisfied with the style, and reported buying Misses' size for most clothing. The subjects rated style as more important than fit and were more satisfied with the overall style of Misses' clothing than with the style of Tall clothing. The subjects appeared to buy Misses' clothing despite their dissatisfaction with fit, in order to have the desired styles. The reported fit problems with Tall clothing were too short hiplines in skirts and too short hemlines in button-up blouses. When compared with the measurements for Tall in PS 42-70, the subjects' measurements were significantly larger. Comparisons of measurements between Black subjects and White subjects revealed no significant differences. Style appeared to be a major influence in tall women's dissatisfaction with and the purchase of Tall clothing. Therefore, manufacturers need to consider aesthetic qualities when developing garments for this market and should revise sizing systems to accommodate the fit needs of Tall women. / Master of Science

Denna studie undersöker hur ett alternativt graderingssätt baserat på förhållandet mellan midja och stuss kan implementeras för att förbättra passformen på dambyxor. Ett vanligt förekommande passformsproblem är att kvinnor som har en rakare eller kurvigare kroppsform upplever svårigheter med att uppnå god passform i både midja och stuss, vilket leder till att en stor del av befolkningen har svårt att hitta byxor som passar. Studien baseras på data från 3D- skanningar av drygt 1000 testpersoner med stussmått som motsvarar storlek 32–48. För att undersöka passformen för kvinnor med varierande kroppstyper delades testpersonerna in i kategorierna rak, medel, och kurvig baserat på förhållandevärdet för midja och stuss, och målet var att förbättra passformen för personerna i samtliga tre kategorier. Resultatet visade att bara genom att byta till ett förhållandebaserat graderingssätt i ”medelserien” kunde fler av testpersonerna uppnå god passform jämfört med det tidigare måttbaserade graderingssättet. När storlekssystemet sedan utökades med den raka och kurviga serien kunde 90% av testpersonerna i studien uppnå god passform. / This study explores how an alternative way of grading based on the ratio between waist and hip can be implemented to improve the fit on women’s trousers. A common fit issue is that women with curvier or straighter body shapes experience difficulties achieving good fit in both waist and hip, which results in a major part of the population having a hard time finding well-fitting trousers. The study is based on data from 3D-scannings of over 1000 test subject with a hip measurement that equals size 32–48. To evaluate fit for women with varying body shapes, the test subjects were divided into the three categories straight, medium, and curvy based on their hip-to-waist ratio, and the goal was to improve the fit for all three groups. The result shows that by only switching to a ratio-based way of grading in the “medium group”, a bigger portion of the test group could achieve good fit compared to the old measurement-based way of grading. When the size system was then extended with the straight and curvy series, 90% of the test subject could achieve good fit.

L’environnement économique des entreprises devient de plus en plus instable (mondialisation, volatilité de la demande, renouvellement rapide des produits, arrivée de nouveaux acteurs…). Penser les relations inter-organisationnelles fait généralement référence à des rapports concurrentiels et conflictuels. L’environnement dans lequel les entreprises évoluent constitue un ensemble de contraintes pour lesquelles elles devront apporter des solutions afin de pouvoir survivre. Au-delà des comportements concurrentiels les acteurs d’un même secteur d’activité reconnaissent cependant l’importance de la coopération souvent nécessaire à leur survie. Ces relations évoluent donc au même niveau que les relations concurrentielles. L’interdépendance entre les entreprises est désormais inévitable. Dans ces conditions, nous pouvons nous demander quelles sont les stratégies appropriées pour faire face à un environnement instable ? Les entreprises ont-elles intérêt à coopérer pour faire face aux instabilités de leur marché, voire les supprimer grâce à des actions concertées ?En prenant le cas du secteur du prêt-à-porter, notre recherche souhaite montrer que les relations inter-organisationnelles sont beaucoup plus complexes et ne se limitent pas qu’à du conflit pur ou de la coopération. Ainsi, les stratégies collectives ne s’inscrivent pas seulement dans une démarche globale, la coopération s’exerçant à tous les niveaux de la filière, mais peut se limiter à quelques processus organisationnels. L’étude de la filière nous montre qu’il existe une situation de coopétition : des stratégies à la fois individuelles et collectives existent au sein d’un même secteur. Autrement dit, la compétition et la coopération sont des modèles relationnels qui coexistent, parfois même à des niveaux différents que ceux observés dans d’autres secteurs. La thèse met notamment en avant le rôle tenu par des acteurs tiers, tels que les syndicats et bureaux de style, pouvant être perçus comme des chefs d’orchestre, dans la mise en place d’actions collectives en environnement fortement concurrentiel. / The economic environment of enterprises becomes more and more unstable (globalization, volatility of the demand, rapid product renewal, new actors...). Think of the enterprises relationship made generally reference to competitive and conflicting reports. The environment in which enterprises evolve constitutes a set of constraints for which they will have to bring solutions to be able to survive. Beyond competitive behavior enterprises of the same sector recognize however the importance of the cooperation often necessary for their survival. These relations evolve in the same level as the competitive relations. The interdependence between companies is henceforth inevitable. Under these conditions, which strategies are appropriate for face an unstable environment? Are enterprises interested in cooperating in order to cope with market instability?Taking the case of the ready-to-wear sector, our research shows that relationships between enterprises are more complex and can’t be reduce to conflict or cooperation. Thus, collective strategies don’t make part of a global approach in a given sector, with cooperation at every level of the industry, but can be limited to just a few organisational processes. A study of the industry shows the existence of a coopetition situation: both individual and collective strategies that exist within a single industry. In other words, competition and cooperation are relationship models that coexist, sometimes at levels that differ from those observed in other sectors. The thesis highlights in particular the role played by third party stakeholders such as syndicates and style agencies, which may be viewed as orchestrators of the implementation of collective action in a highly competitive environment

Dans cette thèse, j'étudie l'émergence, la diffusion, et la transformation du prêt-à-porter à New York et à Paris depuis les années 40 jusqu'aux années 70, au travers de 3 articles constitutifs. L'étude comparative de l'article 1 révèle l'origine, le sens et la complexité du prêt-à-porter en tant qu'innovation. Puis, dans l'article 2, je m'intéresse au processus de diffusion complexe et d'institutionnalisation du prêt-à-porter dans le système de la haute couture, en me concentrant sur le contexte institutionnel, les acteurs clés et les forces influentes. Enfin, dans l'article 3, je décompose le processus de diffusion complexe en quatre étapes et j'examine les différents acteurs et réseaux dans chaque étape, en établissant les interactions entre réseaux et institutions. Dans leur ensemble, ces trois articles enrichissent notre compréhension de la diffusion complexe, y compris ses sens, ses processus sous jacents et mécanismes, depuis des points de vue différents. L'article 1 se concentre sur la complexité du prêt-à-porter lui-même. L'article 2 souligne la complexité depuis le cadre institutionnel et l'adaptation associée au processus de diffusion. L'article 3 traite de la complexité depuis l'évolution des réseaux et leur interaction avec les institutions. / In this dissertation, I study the emergence, diffusion, and transformation of ready-to-wear fashion in New York and Paris from the 1940s to the 1970s through three component papers. The comparative study in paper 1 reveals the origin, meaning, and complexity of ready-to-wear as a business innovation. Then in paper 2, I look into the complex diffusion and institutionalization process of ready-to-wear fashion in the haute couture system, focusing on the institutional context, key actors, and driving forces. Finally, in paper 3, I decompose the complex diffusion process into four stages and examine multiple actors and networks in each stage, addressing the interplay between networks and institutions. Taken together, these three papers enrich our understanding of complex diffusion, including its meanings and the underlying processes and mechanisms, from different angles. Paper 1 focuses on the complexity of ready-to-wear fashion itself. Paper 2 underlines the complexity from the institutional setting and the adaptation associated in the diffusion process. Paper 3 addresses the complexity from the evolution of networks and their interplay with institutions.

This study examines how to make trend fashion based ready-to-wear apparels with no fabric waste in the cutting phase through geometric pattern-making. To work with sustainability through geometrical pattern-making in construction, within the context of commercial fashion. The fashion industry is one of the world's top polluters. Several million tonnes of textile ends up in landfills all over the world every year, landfills are overwhelmed and that has a great impact on the environment. The purpose of this study is to investigate how the method of geometric pattern making can have a commercial value in sustainability. How it can bring benefits within fashion design to become more sustainable, and thus help tackle issues in relation to fabric waste in garment production. Significantly, the project discusses if there can be a way of making commercial clothes more sustainable through geometric pattern-making so no fabric is wasted when it is being cut. The work proposes potential solutions and expressions through this chosen methodology.

Récemment, une nouvelle ère du commerce « connecté » arrive, dans laquelle l’offre des services logistiques fluides entre les différents canaux de vente, sera primordiale pour les réseaux de distribution. Dans ce contexte d’omnicanalité, nous focalisons aux liens pouvant être établis entre le logistics model adopté et le business model. Nous formulons l’hypothèse selon laquelle le logistics model adopté peut faire évoluer le business model : P1: le business model a un impact sur le logistics model. P2: Le logistics model a un impact sur le business model. P3: Quand le business model évolue, le logistics model évolue et s’adapte. P4 : L’évolution du logistics model a un impact sur l’évolution du business model. P5 : L’innovation du logistics model peut pousser l’innovation du business model. Une recherche empirique (4 cas) est menée permettant de capter les aspects dynamiques. Des entretiens semi-directifs avec les dirigeants, les responsables logistiques ont été réalisés. Des analyses intra-cas et inter-cas ont été menées. Apports: Au plan théorique, nous définissons les composants des business model et des logistics model dans l’industrie du prêt-à-porter et montrons 4 processus logistiques liés à la proposition de valeur. Nous montrons comment les évolutions ou les innovations logistiques peuvent permettre d’acquérir des compétences et du savoir-faire distinctifs susceptibles de proposer de nouvelles propositions de valeur aux clients et d’améliorer le business model d’une enseigne. Au plan managérial, les distributeurs trouveront matière à modéliser leurs activités et à positionner les services logistiques au centre de leurs business models futurs. / Recently, a new era of “connected commerce” is emerging, where the ability of offering effective and fluid logistics services among the different channels will be a key feature of distribution networks. In the context of omnichannel, we focus on the dynamic links between logistics model adopted by a distribution company and its business model. We make the hypothesis that the adopted logistics model can lead to changes in the business model: P1: the business model impacts the logistics model. P2: the logistics model impacts the business model. P3: the evolution of the business model impacts the evolution of the logistics model. P4: the evolution of the logistics model impacts the evolution of the business model. P5: The innovation of the logistics model impacts the innovation of the business model. To answer the research questions, we conducted a dynamic empirical research (four case studies in the ready-to-wear industry). Semi-structured interview with leaders, and logistics managers were conducted, followed by an intra-case and cross-case analyzes.Implications: At the theoretical level, we define precisely the components of the business model and the logistics model and demonstrate an association between four logistics processes and the value proposition to customers. We show how evolution and innovation of logistics can provide distinctive skills and know-how that can help create new value propositions to customers and improve the company’s business model. At the managerial level, our study offers insights to retailers certain ways to model their activities and to position the logistics services at the center of their future business model.

"The purpose of the present study is to observe how the consumers select ready-to-wear dresses in a small oil town, which had a population of 3,336 in June, 1940...A brief summary of the entire study follows. (1) Of the 215 customers, 60 percent were sales customers and 60 percent stated the price they wished to pay. (2) The 135 dresses purchased were about equally distributed among $7.95, $10.95,$16.95 and $29.95 values. (3) The color desired was specified by 83 percent of the customers. Navy and tan were the two leading colors. (4) While 97 percent of the women designated the size they needed, only 83 percent purchased the size requested. Size 16 was bought by more women than any other size. (5) Customers had little knowledge regarding trade names and materials. Of the dresses sold, 64 percent were rayon. (6) About 90 percent of the women designated in some manner the type of dress they desired. Almost 50 percent of the purchasers selected tailored garments. (7) Slightly less than half of the customers check on the quality of workmanship or the material in the dress. Only 15 percent of the women asked for a guarantee of any type. (8) Ten percent of the women objected to the alteration of the garments which they contemplated buying and did not make a purchase because of this."--Leaves 35-36.

No description available.

Numerous authors are in agreement about apparel being a means of communication, especially in the workplace environment (Howlett et al. 2013; Li et al. 2012; Kang et al. 2011; Kwon 1994; Stuart & Fuller 1991). In fact, business apparel has been found to be used as a tool to communicate perceived meaning about the wearer to others, such as level of education, diligence, and even occupational ability (Kwon 1994; Stuart & Fuller 1991). Business apparel has the ability to be used by the wearer as a means to impress others but have also been found to produce positive feelings like confidence, productivity and dependability in the mind of the wearer (Peluchette et al. 2006). Moreover, minor changes in an outfit can influence the opinions and judgements made by others about the wearer (Howlett et al. 2015; Howlett et al. 2013). Otnes and McGrath (2001) suggest that men may attempt to achieve professional success when purchasing business apparel as the apparel worn at work may be related to achieving success in the workplace. Men are becoming more evident in the ready-to-wear apparel retail market, which may be explained by a shift in the way society sees traditional gender roles (McNeill & Douglas 2011; Otnes & McGrath 2001). In fact, Otnes and McGrath (2001) propose that men who are not limited by the view of traditional gender roles shop with motivation, often displaying shopping behaviour considered as feminine, but do so with a specific goal in mind. Increased marketing activities targeting male consumers (Seo et al. 2001), a greater variety in ready-to-wear business apparel options, due to the tendency towards a more casual dress code in many workplaces (Torres et al. 2001), and an increased consciousness about managing their own appearance (Sindicich & Black 2011) contribute to changes in the apparel purchasing behaviour of male consumers. Kang et al. (2011) suggest that men in particular expect specific outcomes, such as career advancement, communicating a positive impression to others, improving personal performance in the workplace, and feeling good about themselves, which they associate with their business apparel. Well-fitting apparel makes a positive contribution to the appearance of the wearer. Consumers, including men, often consider the fit of ready-to-wear apparel items as an aspect to consider when evaluating alternatives for purchasing. This is significant vi since the fit of apparel contributes not only to the physical comfort of the apparel item but also involves an aesthetic as well as a socio-psychological dimension (Tselepis & De Klerk 2004). Fit problems with ready-to-wear business apparel among male consumers have been reported by various authors (Sindicich & Black 2011; Sindicich 2008). However, getting a clear indication of consumers’ evaluation of apparel fit remains a complicated process (Chen 2007) and with the wide range of body shapes among apparel consumers, as well as their range of preferences towards apparel fit, problems with the fit of apparel items continue to be a topic of concern for manufacturers and retailers (Bye & LaBat 2005; Anderson et al. 2000) and the task of providing consumers with satisfactory fit is notably difficult (Ross 2005). Considering the influence which consumers’ expectations of the fit of their apparel has on the apparel purchase decision, the limited research about male consumer expectations regarding the fit of apparel is a problem worth addressing. This includes what their expectations are with regard to the fit of their business apparel, as well as factors they consider to be important when in the process of purchasing business apparel. Therefore, the overall purpose of this study was to gain knowledge regarding the functional, aesthetic and socio-psychological expectations that South African male consumers hold towards the fit of ready-to-wear business apparel, and to determine the extent to which their expectations influence their apparel purchase decisions. The study employed an exploratory, quantitative research approach. Data were collected by means of an electronic questionnaire through a combination of both purposive and snowball sampling techniques. Descriptive statistics were used to describe the demographic and psychographic profile of the sample by means of frequencies and percentage distributions and to analyse the coded data. A correlation coefficient was calculated and was used to determine the reliability of the constructs, namely the functional, aesthetic and socio-psychological expectations of fit and the importance of these apparel attributes when respondents purchase ready-to-wear business apparel. A multiple linear regression model was applied to determine the relationship between the expectations and the extent to which these influence the purchase decision regarding business apparel. vii The results of this study indicated that respondents showed a higher level of agreement with the functional expectations of the fit of their business apparel than with the aesthetic and socio-psychological expectations. However, the multiple linear regression model indicated that respondents placed greater importance on the aesthetic and socio-psychological aspects of apparel when in the process of purchasing ready-to-wear apparel for the workplace. In terms of functional expectations, respondents expected their business apparel to fit well when in their size, as well as to be comfortable and of good quality. The results further indicated that the respondents expected the fabric of ready-to-wear business apparel to be comfortable, that they like the colour of the apparel item, and that wearing the apparel item would contribute to positive feelings of self. Socio-psychological expectations included that the respondents expected ready-to-wear business apparel with good fit to make them feel fashionably dressed, give them confidence at work and also make them feel like they are a part of the company, as their business apparel should adhere to the dress code of the company. It is therefore recommended that ready-to-wear apparel manufacturers, as well as marketers and retailers, not only consider the functional aspects of apparel fit, but also focus on the aesthetic and socio-psychological aspects of apparel fit, as these also play an important role in the male consumer’s evaluation of ready-to-wear business apparel and therefore also his assessment of his own satisfaction during use. Ready-to-wear business apparel marketers and retailers can integrate male consumers’ expectations towards fit and business apparel in general into marketing strategies and as a means to retain current consumers. / College of Agriculture and Environmental Sciences / M. Sc. (Consumer Science)

Cette thèse étudie la place des Galeries Lafayette dans l’échange marchand entre l’offre et la demande, au cœur du système de la mode. Elle réévalue le rôle de la distribution en général et du grand magasin en particulier comme intermédiaire créateur de valeur dans la relation entre le producteur et le consommateur. Au tournant du XXe siècle, sur le marché de la nouveauté et le segment émergent de la confection, l’enseigne répond aux attentes des consommateurs qui cherchent à se distinguer et se différencier en suivant de près les phénomènes de mode. Alors que les maisons de couture exercent un monopole sur les tendances, et limitent leur diffusion en France à un cercle de clientes privilégiées, les Galeries Lafayette ont fait « entrer la mode dans le grand magasin ». Elles fabriquent et vendent sous leur propre marque des modèles inspirés de ceux des couturiers. Cette appropriation efficace de la création construit la légitimité de l’entreprise en tant qu'intermédiaire ainsi que le pouvoir prescripteur de la marque sur le marché de la mode. Elle fait aussi des Galeries Lafayette un acteur de l’économie de la contrefaçon, au centre des enjeux de l’industrie du vêtement dans l’entre-deux-guerres. La thèse montre cependant qu’il existe plusieurs régimes de management de la création aux Galeries Lafayette. A travers l’analyse des investissements de l’entreprise dans les industries créatives et en particulier les cas des Parfums Chanel, des maisons Madeleine Vionnet et Jean Patou, elle se saisit pour la première fois de la question du financement de la couture et décloisonne l’étude des principaux acteurs du système de la mode. La période couverte, de la fin du XIXe aux années 1960, rend compte des transformations de l’industrie du vêtement, mais aussi de la plasticité de la stratégie et des structures de l’organisation. Après la Seconde Guerre mondiale, l’intégration verticale de la fabrication laisse progressivement la place à de nouvelles modalités de construction de l’offre. Dans un contexte marqué par la modernisation de la filière habillement, la « révolution » du prêt-à-porter, et l’émergence de nouvelles capitales de la mode, la centrale d’achats élargit ses approvisionnements aux marques et à l’international. La mise en place pionnière d’un bureau de style au début des années 1950 est centrale dans cette transformation pour faire le lien entre les créateurs, les industriels et les clients avec lesquelles les Galeries Lafayette sont en contact direct.Une partie des développements est consacrée aux associations professionnelles internationale qui sont le véhicule privilégié des transferts transatlantiques mais aussi de la construction d’un réseau européen favorisant la circulation des idées et des marchandises. Ces échanges montrent que la diffusion des méthodes nouvelles d’organisation, importées et adaptées des États-Unis, ne s’est pas limitée à l’industrie. Les efforts des Galeries Lafayette pour rationaliser l’organisation sont une nouvelle démonstration de la nécessité de réévaluer le rôle de la distribution et des intermédiaires du système de la mode longtemps négligés au profit de la figure du créateur. / This thesis researches the role of Galeries Lafayette at the heart of the French fashion system. It re-evaluates the role of retail and department stores as value-creating intermediaries in the relationship between producer and consumer. Additionally, the research highlights the innovative capacity of a family business and shows that the introduction of new organizational methods in retail trade along the 20th century, imported and adapted from the United States, was as much present as in manufacturing enterprises. In the first part, the thesis looks at the foundation of the company, its competitors and its customers. To differentiate themselves, Galeries Lafayette manufactured and sold models inspired by those of the couturiers under the store private label. At the turn of the twentieth century, while fashion houses claimed a monopoly on trend setting, Galeries Lafayette introduced fashion in department store. This effective appropriation of fashion design built the legitimacy of the company as an intermediary, and posited the prescribing power of the brand in the fashion market. It also made Galeries Lafayette a player in the economy of counterfeiting, a major issue for the apparel industry in the inter-war period. The thesis shows, however, that various management regimes for design exist at Galeries Lafayette. In a second part, we analyze the investments of the company in the creative industries and in particular the cases of Chanel Perfumes as well as Madeleine Vionnet and Jean Patou fashion houses. In doing so, for the first time, the thesis analyzes the financing of fashion houses thus unbundling the study of the main actors in the fashion system. In a third part, the thesis studies competitive and market change from World War II onwards: the modernization of the clothing industry, the ready-to-wear revolution, and the emergence of new capitals of fashion besides Paris. The dismantling of the vertical integration in manufacturing, the opening of central purchasing to new suppliers, the pioneering establishment of in-house fashion forecasting office in the early 1950s induced a new organization and changes in the link between creators, designers, industrialists and customers for Galeries Lafayette.