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The Design Journal VOLUME 17, ISSUE 2 REPRINTS AVAILABLE PHOTOCOPYING © BLOOMSBURY PP 267–290 DIRECTLY FROM THE PERMITTED BY PUBLISHING PLC 2014 PUBLISHERS LICENSE ONLY PRINTED IN THE UK

PLC Design for Many, Design for Me: Universal Design for Apparel Products

Juyeon Park E-PrintColorado State University, USA with

Kristen Morris Cornell University, USA

Casey Stannard Oregon State University, USA

Wildrose Hamilton Freelance

BLOOMSBURYABSTRACT This study examined the potential of universal design in the ﬁeld of apparel. The particular purpose of the study © was to explore the use of the concept and principles of universal design as guidance for The Design Journal DOI: 10.2752/175630614X13915240576103 developing innovative design solutions that accommodate ‘inclusivity’ while maintaining ‘individuality’ regarding the wearer’s 267 268 The Design Journal Juyeon Park,withKristenMorris,CaseyStannard Hamilton andWildrose

© Introduction applications KEYWORDS: universaldesign,apparel product design, practical considered inapplicationsforapparel design. definition andprinciplesofuniversaldesignmustbe proximity tothewearer, modificationoftheoriginal and versatileoutcomes.However, duetoproduct for theapparel designprocess toachieveflexible that universaldesignprovides aneffective framework through practicalapplications. Thisstudysuggests and theprinciplesofuniversaldesignwere evaluated two casestudiesofdesignpracticewere conducted, applicability ofuniversaldesigninapparel products, aesthetic tastesandfunctionalneeds.To verifythe designers (Steinfeld andMaisel,2012). clarify theconceptfurtherand provide more explicitguidelinesfor in variousdesignapplications, theyhavealsopointedoutaneedto tute avaluableattempttofacilitate practiceofthedesignphilosophy scholars haveagreed thattheprinciplesofuniversaldesign consti- designed products (CenterforUniversalDesign,2012).Although educate otherdesignersand usersaboutthebenefitsofuniversally evaluate existingdesigns,guidethedesignprocess andmutually BLOOMSBURYDesigners maychoosetoadoptallorsomeoftheprinciples to regardless ofbodysize,posture, ormobility(Clarkson and use and effectively withminimum fatigue;and or unintendedactions; influences; sary informationeffectively totheuserdespiteabilitiesandoutside skill/knowledge level;perceptibleinformation,communicatesneces- abilities; in use,accommodationofawiderangeindividualpreferences and use, beinguseful/marketabletopeoplewithdiverseabilities; Universal Design,2012).Thesevenprinciplesincluded for UniversalDesignatNorthCarolina StateUniversity(Centerfor design (seeTable 1)developedinthelate1990sbyCenter practitioners recognize theoriginalsevenprinciplesofuniversal 2001; SteinfeldandMaisel,2012).Regardless oftheterminology, imply democratizationandsocialinclusion(Knecht,2004;Ostroff, sign forallandbarrier-free design,todenotedesignapproaches that used interchangeably withotherterms,suchasinclusivedesign,de- cialised design’(Mace,1985).Thetermuniversaldesignhasbeen + simple andintuitivetouse,easyunderstandregardless of , adequatesizeand/orspaceprovided formanipulation

E-Printextent possible,withouttheneedforadaptationorspe- environments tobeusablebyallpeople,thegreatest Universal designisdefinedas‘theofproducts and tolerance forerror low physicaleffort , minimizeshazards from accidental , canbeusedefficiently size/space forapproach et al,2003). equitable flexibility PLC ate design(Clarkson particular, thosepreviously excluded ordeniedaccessbyinappropri- better accessibilityandusability forabroad rangeofend-users, in design disciplinestogenerate products andenvironments with The conceptofuniversaldesign hasbeenwidelyusedinvarious Universal Designinthe ContextofApparel in thebuiltenvironment haveexplored waystocreate residential present andfuture stanceofuniversaldesigninthediscipline. in thecontinuumofleading-edgedesignparadigmstomap outthe context ofapparel. We thendiscusstheconceptofuniversaldesign contemporary examplesoftheuniversaldesignphilosophy inthe field ofapparel. Inthefollowing section,wereview cross-cultural and principles toenhancethecommunicabilityofuniversaldesign inthe velopment process andsuggest furthermodificationsofthedesign applicability ofuniversaldesignprinciplesintheapparel product de- and functionalneeds.Thestudyisintendedtodemonstrate the maintaining ‘individuality’reflecting thewearer’s aesthetictastes ing innovativedesignsolutionsthataccommodate‘inclusivity’while concept andprinciplesofuniversaldesignasguidancefordevelop- environment. Therefore, thisstudyaimstoexplore theuseof stage whilealsomeetingpracticalneedsforprotection from the individuality imposedbyage,weight,gender, bodyshapeandlife others. Furthermore, apparel mustconformtoaperson’s physical part oftheiridentity, usetodisplaytheiridentity whichtheyinturn routines andeventuallymaycometoconsidertheproducts tobe develop bondswithproducts afterusingthemaspartoftheirdaily and Roach-Higgins,1992).Mittal(2006)arguedthatconsumers they actasavisualpresentation ofthewearer’s identity(Eicher pearance byreflecting thewearer’s ownstyleandaesthetictastes; individuality thatcontributetotheconstructionofaperson’s ap- of apparel products. Apparel products are valuedassymbolsof large numberofend-userneedsforapparel products. to practisetheconceptandprinciplesofuniversaldesignservea as increased comfort.However, fewornoattemptshavebeenmade functionality foruserswithoutspecialneeds,includingbenefitssuch in manufacturing,alteringormaintainingaproduct andenabling without physicaldisabilitiescontributestoreducing thecostinvolved sign ofaproduct thatismore accessibletopeoplebothwithand and Vanderheiden (1992)suggestedthat,insomecases,thede- segment ofthepopulationwithphysicaldisabilities.Vanderheiden versal design.Thesestudiestendedtofocusondesignforanarrow identified areas inwhichapparel products canbeimproved byuni- Martins and(2012)detailedeachofthesevenprinciples Gross, 2010;Carroll andKincade,2007;MartinsMartins,2012). the conceptofuniversaldesigntotheirpractices(Carroll and This dearthofresearch isunderstandablegiventheunique nature In thefieldofapparel, onlyafewempiricalcaseshaveapplied © BLOOMSBURY etal,2003).Forexample,design strategies E-Print Design forMany, DesignforMe:UniversalApparel Products

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269 The Design Journal 270 The Design Journal 1 Table 1 Juyeon Park,withKristenMorris,CaseyStannard Hamilton andWildrose 2 3 4 5 with diverseabilities. marketable topeople The designisusefuland Equitable use Design principles preferences andabilities. range ofindividual accommodates awide The design Flexibility inuse level. current concentration language skills,or experience, knowledge, regardless oftheuser’s easy tounderstand, Use ofthedesignis use Simple andintuitive sensory abilities. conditions ortheuser’s regardless ofambient effectively totheuser, necessary information communicates The design information Perceptible actions. accidental orunintended consequences of hazards andtheadverse The designminimizes Tolerance forerror Universal designprinciplesandpossiblesolutionsforapparel © BLOOMSBURY 1d. Makethedesignappealingtoallusers. should beequallyavailabletoallusers. 1c. Provisions forprivacy, security, andsafety users. 1b. Avoid segregating orstigmatizingany when not. users: identicalwheneverpossible;equivalent 1a. Provide thesamemeansofuseforall 2d. Provide adaptabilitytotheuser’s pace. 2c. Facilitatetheuser’s accuracyandprecision. and use. 2b. Accommodateright-orleft-handedaccess 2a. Provide choiceinmethodsofuse. during andaftertaskcompletion. 3e. Provide effective prompting andfeedback importance. 3d. Arrangeinformationconsistentwithits language skills. 3c. Accommodateawiderangeofliteracyand intuition. 3b. Beconsistentwithuserexpectationsand 3a. Eliminateunnecessarycomplexity. sensory limitations. techniques ordevicesusedbypeoplewith 4e. Provide compatibilitywith a varietyof or directions). described (i.e.makeiteasytogiveinstructions 4d. Differentiate elementsinwaysthatcanbe 4c. Maximize‘legibility’ofessentialinformation. essential informationanditssurroundings. 4b. Provide adequatecontrastbetween information. tactile) forredundant presentation ofessential 4a. Usedifferent modes(pictorial,verbal, that require vigilance. 5d. Discourageunconsciousaction in tasks 5c. Provide failsafefeatures. 5b. Provideofhazards warnings anderrors. shielded. hazardous elementseliminated, isolated,or errors: mostusedelements, mostaccessible; 5a. Arrangeelementstominimizehazards and E-Print Guidelines shapes. different sizesand of consumers that fitsawiderange Relaxed silhouette dressing. Versatile wayof doffing. Easy donningand details. Minimal design design. Simple yetthoughtful procedure. the dressing Easy tounderstand flexibility. Optimized fitforsize movement. not hinderbody Design thatdoes Design solutions PLC 6 made from one boltofcloth,utilizingminimal cutting andsewing in itsuseofmaterialsandversatile inappearance.Thekimonois that itisadjustablefrom childhoodthrough adulthood,economical ample istheJapanesekimono, whichisconstructedinsuchaway reflecting asenseofpersonalandculturalidentity. Onefamiliarex- by transformationthrough thewearer’s lifespan whileretaining and The conceptofuniversaldesign extendsthelifetimeofgarment Cross-cultural perspective apparel product development. paradigm ofuniversaldesignintheexistingbodyknowledge in following section,provided valuableinsightsintopositioningthe A review ofprevious scholarlywork,whichwillbepresented inthe veloped process modelsto guidethecreation ofapparel products. and Eubank,2006).Inthecontemporarysetting,scholars havede- cape-like garmentswasconstructedtofitthehumanbody (Tortora ments sincetheOldStoneAge,whenformofdraped skirtsand that humanshaveusedthisdemocraticdesignconceptingar- However, across-cultural investigationofethnicdresses revealed consumers (Trost, 2005). principles indevelopingproducts thatappealtoalargergroup of Moreover, product developershaveincorporateduniversaldesign abilities (Burgstahler, 2008;Kmatsuetal,2011;SiuandLam,2012). dis- forstudentswithlearning technologies (e.g.distancelearning) 2008), byenhancingaccessibilityofnewmodesinstructional ofallagesandabilities(Burgstahler,tional strategiesforlearners universal designhasbeenimplementedtoidentifyeffective instruc- large numbersofpeople(Leibrock andTerry, 1999).Ineducation, and commercial spacesthataccommodatethediverseneedsof 7 The termuniversaldesignisrelatively newintheapparel field. minimum offatigue. comfortably andwitha used efficientlyand The designcanbe Low physicaleffort Design principles © mobility. body size,posture, or regardless ofuser’s manipulation, anduse for approach, reach, space isprovided Appropriate sizeand approach anduse Size andspacefor BLOOMSBURY 6d. Minimizesustainedphysicaleffort. 6c. Minimizerepetitive actions. 6b. Usereasonable operatingforces. position. 6a. Allowusertomaintainaneutralbody E-Print assistive devicesorpersonalassistance. 7d. Provide adequatespacefortheuseof size. 7c. Accommodatevariationsinhandandgrip for anyseatedorstandinguser. 7b. Makereach toallcomponentscomfortable elements foranyseatedorstandinguser. 7a. Provide aclearlineofsighttoimportant Design forMany, DesignforMe:UniversalApparel Products Guidelines maintenance. doffing andeasy Easy donningand doffing. Easy donningand Flexible sizeandfit. PLC Design solutions

271 The Design Journal 272 The Design Journal Juyeon Park,withKristenMorris,CaseyStannard Hamilton andWildrose

© and toga ments thatshare thesequalitiesincludetheIndiansari,Roman by tyingbackthesleeveswithcord. Otherexamplesofgar- The kimonomaybelayered forwarmthormademore utilitarian and secured withacord andobisashtoadjustforshortstature. and use(refer toTable 1).Excessfabricmaybedrawnup,folded ibility inuse, information retrieved from theend-user helpstheproduct developer not alwaysbeabletofully articulate hisorherlatentneeds,the of theseneedsfordesignpractice. Eventhoughtheend-usermay ing rawdataofuserneedsand establishingtherelative importance target product (Rosenblad-Wallin, 1985).Thisstageinvolves gather- to taketimeinvestigateend-user needsandpreferences forthe stage amongthefivestages fortheproduct developer ordesigner the process, needsassessment andresearch, isthemostsalient BLOOMSBURYprototyping, designevaluation andconfirmation.Thefirststageof ing stages:needsassessmentandresearch, creative exploration, in theprocess of apparel product development includethefollow- certain elementsintheprocesses are consistent.Commonelements Regardless ofthenamesand numberofstages,allhaveagreed that posed variousproduct development processes forapparel products. Kallal, 1992;May-PlumleeandLittle,1998;Watkins, 1988)havepro- Scholars (Gametal perspective Contemporary apparelproductdevelopment within thecontextofapparel. in tailoringhascreated contradictoryoutcomesofuniversaldesign popularity totailored garments.Ofnote,technologyadvancement inclusiveness withbodyshapingofdrapedgarmentshadtolendits the wearer’s body)hasdominatedthedrapedstyle;consequently, Eubank, 2006),thepre-shaped styleofgarments(i.e.tailored tofit construction intheearlyMesopotamiancivilization(Tortora and don anddoff thevestments(Boulanger, 1997). have beenovercome byteachingchildren from ayoungagehowto as achild.Historicalevidence,however, showsthattheseobstacles power maynotbeimmediatelyevidenttothenovicewearer, such theircommunicative is, howtowearthesegarmentsandharness first, especiallywhenthewearer isnotfamiliarwiththegarment.That physical effort including simpleandintuitiveuse,perceptibleinformation adhere tomostprinciplesofuniversaldesign,butthe Lindisfarne-Tapper andIngham,1997).Thesegarmentsseemto exemplifying theuniversaldesignprinciplesof kimono tofitanyonefrom aman,tochild,pregnant woman, (Van Assche,2005).Theeasyfitafforded bythedrapeallows Since seamingtechniqueswere firstintroduced to garment , Guatemalan E-Print midawwara tolerance forerror,and mightbeperceived aschallengingtothewearer at , andGhanaian huipil , 2008;LaBatandSokolowski,1999;Lamb and corte adinkra , SaudiArabian size andspaceforapproach and kente equitable use zabun (Gillow, 2001; , sidriyya

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final design. initial needsassessmentand research stagetoconfirmationofthe underlying goalsforthedevelopment ofapparel products from the particular stages.Thedesign principlesneedtobecontemplatedas process ofapparel product development,notjust inoneortwo ciples ofuniversaldesignshould beconsidered throughout theentire functionality intheweartesting phase.We suggestthat theprin- suggests theprinciplesofuniversaldesignasevaluation criteria for within themodel.OnemayinferthatCarroll andGross’s model understanding thejustificationforprinciplesofuniversal design testing stage,lackofsufficientexplanationkepttheaudience from posed consideringtheprinciplesofuniversaldesignin userwear products. AlthoughCarroll andGross’s (2010)process modelpro- siderations forthedevelopmentofuniversallydesigned apparel parel products. principles ofuniversaldesignintothedevelopmentprocess ofap- components shouldbefurtherconsidered tobetterintegratethe apparel product development.Thus,wehaveargued thatseveral their process modelismore inclusivethanotherprocess modelsfor designstrategy,the scopeofuniversaldesignasanalternative and and evaluatorwearopinions.Carroll andGross (2010) expanded design were positedinthethird stageofthemodel, testinguser ing andcommunicating.Inthismodel,theprinciplesofuniversal ating production feasibilityandmarketingfeasibility, andimplement- specification sheet,testinguserandevaluatorwearopinions,evalu- end-user needs,sketchingandmakingaprototype andgeneratinga and Kincade(2007).Itconsistedoffivestages,includingestablishing development adaptedfrom theoriginalmodelsetforthbyCarroll users. Theresearchers proposed acircular modelofapparel product than applyingthe‘ideal’conceptofuniversaldesignforallend- create clustersofconsumerswithsimilarphysicaldisabilities,rather of universaldesign,Carroll andGross (2010)stressed theneedto marketplace (KeiserandGarner, 2008). end-user decideswhethertoacceptorreject theproduct inthe approved. Thefinalproduct ispresented totheend-userand 1999). Finally, theconfirmationstageoccursafterprototype is prototype, asitisexaminedandrevised (LaBatand Sokolowski, Next, theevaluationstagedemandssubstantialcreative inputtothe level ofproduct functionalityandquality(UlrichEppinger, 2008). to seewhetherthesampledprototype demonstratesthedesired (also knownasfirstsampling)ismaterializationofthedesignidea refinement (LaBatandSokolowski,1999).Theaimofprototyping designer canandthenimposingconstraintsintheprocess ofidea which requires generatingasmanypreliminary designideasasthe (Ulrich andEppinger, 2008).Thecreative explorationstagefollows, build anunderstandingoftheuser’s environment andpointofview The sevenprinciplesofuniversaldesignmayprovide keycon- In anattempttocreate apparel products utilizingtheprinciples © BLOOMSBURY E-Print Design forMany, DesignforMe:UniversalApparel Products

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273 The Design Journal 274 The Design Journal Juyeon Park,withKristenMorris,CaseyStannard Hamilton andWildrose

Soepboer said, sustainabilitywillbeanatural consequenceachieved 18). Ifwearers are emotionally investedintheirapparel, then,as experiences thatpenetratethe psycheovertime’(Chapman,2005: user, providing theconsumerwith‘profound andsophisticated user these designsolutionsmust fosteranemotionalbondwiththe 2008;Raunio,1995).Furthermore,longer functioningstyle(Hethorn, various consumerneedsand willeventuallyleadtogreater useand must bepaidtoinnovativedesignsolutionsthataccommodate BLOOMSBURY1982). Iftheapparel industryistosustain people,more attention desired 2008;Holbrook byconsumers(Hethorn, andHirschman, emotional, expressive and physicalqualitiesingarmentsthatare of thewholepopulation.’Apparel products shouldaddress the and address amuchwider rangeofcapabilities,more representative tion aware andpeopleaware. [Design]therefore hadtounderstand explained, ‘…designitselfhadtochange.Itbecome popula- much tooffer inthisregard (Coleman,2006).AsColeman(2006:24) temporary socialissuesandagrowing realization thatdesignhas Universal designarose from theneedtoaddress importantcon- of economicandecologicaladvancementinmind(Birkeland,2002). ability toencouragethedevelopmentofproducts withtheprinciples Fletcher, 2007;FletcherandGrose, 2012). preciation ofthoughtfuldesignandhighquality(Dicksonetal,2009; has beenashiftfrom overconsumption ofapparel products toap- thesustainabilitymovement,there planet (Mackenzie,1991).Within of production andconsumptionforthefuture preservation ofthe sustainable designforapparel products istominimize theimpact products tocreate sustainableoutcomes.Thekey challenge of such opportunityistheapplicationofuniversaldesigninapparel stance ofdesignbyincludingsocialequity(Fuad-Luke,2004).One explore anddevelopnewapproaches andre-evaluate thetheoretical The sustainabledesignmovementhascreated newopportunitiesto Sustainability anduniversaldesign lated andsignificantlyinfluencecontemporarydesign. and product personalization.Theseparadigmsare undeniably re- universal designincludesustainabledesign,slowco-design life. Contemporarydesignparadigmswithacloserelationship to has shiftedfrom anincrease inprofits toenhancedqualityofhuman have emergedtosolvesocialproblems inwhichthedesignfocus end-users. Today, designculture isevolving,anddesignparadigms rights movement,seeksdesignsolutionsbygivingmore powerto and Maisel,2012).Universaldesign,emergingfrom thedisability services developedfrom ahuman-centred perspective(Steinfeld population byrecognizing userneedsandoffering products and Universal designisaprocess thatenablesandempowersadiverse Design Paradigms Universal DesigninaContinuumofContemporary E-PrintSustainable design,inconjunctionwithuniversalhasthe

PLC and havevaluable input(Bjorgvinsson,2008; SandersandStappers, support from stakeholders(Fletcher, 2008). increase theoverallqualityofdesignandisenhanced by additional use theproduct shouldbeinvolvedinthedesignprocess. Thiswill 2008). Co-designisbuilton the ideathatthosewhowillultimately and skill(Fletcher, 2008;Fuad-Luke,2009; SandersandStappers, ships ofend-userstodesignactivitywithrespect totheirknowledge (d) scopeanddurationofparticipatoryinteractions(e) relation- in thedesignprocess, (c) typesofshared designrepresentations, dimensions: (a)domainsofhumanactivity, (b)roles ofstakeholders design isnotasinglemethod,butinvolvesthe following 2008; Fuad-Luke,2009;SandersandStappers,2008).Participatory casts peopleinroles other than thosestrictlyofconsumers(Fletcher, participatory design,user-centred designandopendesign. Itre- Co-design isatermthatencompassesdesignparadigms suchas Co-design asauniversaldesignprocess examine current processes andmotives. move beyondtheframeworktouncovernewpotentialandcritically with thecurrent trend ofuniversaldesign,theapparel industrycan and Fuad-Luke,2008).Byconsideringslowfashionidealsalong tive designprocess; andevolvingintoproduct maturation (Strauss transparencies toevolvedesigninthefuture; participating inanac- product; reflecting onconsumption;engagingcollaborations and the perceived functionalities,physicalattributesandlifespansofa looked orforgotteninaproduct’s existenceorcreation; expanding include revealing experiencesineverydaylifethatare oftenover- to social,culturalandenvironmental sustainability. Theprinciples design asanewevaluationtooltoguidepracticeswithview cess (Fletcher, 2007). manufacturer andend-userthanthetraditionalmanufacturingpro- 2004). Slowdesignenablesricherinteractionamongthedesigner, apparel products withasignificantlyshorterlifespan (Fuad-Luke, existing designparadigmoffastfashion,whichglorifiesinexpensive Fuad-Luke, 2009).Slowdesignisviewedasacounterbalancetothe a long-termviewindesignprinciples(Clark,2008;Fletcher, 2007; on individual,culturalandenvironmental well-beingandencouraging of free enterprisetoconsidersustainableawareness byrefocusing of apparel products. Slowdesignlooksbeyondthetraditionalmodel Slow designisonesolutionthataimstocounteroverconsumption Slow designandthoughtfulconsumption 2008). experiences (Dicksonetal,2009;Hethorn, to sustainingpeoplethrough flexibledesignwithsatisfyingproduct damental enquiryofuniversaldesignwillbejustifiedasasoundstart by longevityoftheproduct lifecycle(Rahman,2011).Thenthefun- For co-designtosucceed,one mustbelieve Strauss andFuad-Luke(2008)proposed theprinciplesofslow © BLOOMSBURY E-Print Design forMany, DesignforMe:UniversalApparel Products all peopleare creative

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275 The Design Journal 276 The Design Journal Juyeon Park,withKristenMorris,CaseyStannard Hamilton andWildrose

2003). Theresult ofthepersonalizationprocess isthatconsumers scale withoutlosingthebenefits ofmassproduction (MacCarthy, and servicestoindividualconsumers ofnichemarketsonalarge customization, whichoffers userstheabilitytocustomize products 2000: 313).Product personalizationprovides flexibilitywithinmass a product toincrease its personalrelevance toan individual’(Blom, the functionality, interface,information content ordistinctivenessof Product personalizationhas beendefinedas‘aprocess thatchanges BLOOMSBURYalternative Product personalizationasauniversaldesign ens thescopeofpotentialusers. typically havebeenexcludedfrom thedesignprocess likelybroad- appropriate foralargergroup ofpeople.Incorporatinguserswho when appliedtouniversaldesigncancreate products thatare more and mistakesintheprocess offinishingtheproduct. Co-design making asameansofexpressing hisorherowncreativity, stories product, thedesignerleavesaspaceforusertocomplete in thedesignprocess. Fuad-Luke(2009)explainedthatinahalfway Halfway designalsofeatures asimilarconceptofuserparticipation can wearitasyoulike–they’re yourclothes’(English,2011:15). design process (English,2011;Rahman2011).AsMiyakesaid,‘You expressed howwearers are empowered bytheirinvolvementinthe cut (English,2011).Ininterviews,bothSoepboerandMiyakehave from thefabricandisabletotransformgarmentwitheachfurther together inasingletubeofcloth.Thewearer cutsoutthegarment cloth’, features variableclothingensemblesthatare engineered ready-to-wear lineofclothing.A-POC,whichstandsfor‘apiece Japanese designerIsseyMiyakeencouragesco-designinhisA-POC aged tocolourinfittheirneeds(Rahman,2011;Soepboer, n.d.). features ablack-and-whitetextileprintthatwearers are encour- design ofthetextileratherthanentire garmentform;thedress Soepboer, n.d.).Soepboer’s ‘Colour-In Dress’ demonstratesco- an infinitenumberofcustomizableensembles(Rahman,2011; mond shapesthatcanbesnappedtogetherbytheusertoform textiles ofDutchdesignerBerberSoepboerare composedofdia- 2005; Sanders,2006). the positiveexperiencethatproduct encompasses(Chapman, co-design isabletofocusnotonlyontheproduct itself,butalsoon time. Through collaborationbetweenthedesignerandconsumer, across multipledisciplinesandcreates products thatwillwithstand 2008). Co-designallowsforandencouragesproduct development creative experiences(Bjorgvinsson,2008;SandersandStappers, looking forabalancebetweenpassiveconsumptionandthoughtful that willprovide long-termfulfilment(Maxwelletal,2006).Peopleare offer short-termsatisfactionandare startingtopurchase products 2008). Consumersare movingawayfrom purchasing products that E-Print Co-design canbeexecutedinavarietyofways.Thefragmented

PLC practices asacounterbalancetodesignexclusion. products havetobedevelopedthrough creative thinkingandbest excluded from designconsiderationsinthepast.Thatis,these to asmanyend-userspossible,includingthosewhohavebeen designing apparel products, istooffer flexible,customizableoptions study understandthatthegoalofuniversaldesign,particularlyin in thecontextofapparel design.However, theresearchers inthis the archetypical practiceofuniversaldesignseeminglyimpossible and shapes,culturalbackgrounds andaestheticpreferences make the displayofwearer’s identity. Varying individualbodysizes risk ofdehumanizingtheindividualend-userorwearer, notallowing that canbeutilizedbyallmembersofsocietybecauseitcreates a on auniversalstandard. Itischallengingtocreate anapparel product more abouthelpingindividualsbuildtheirownidentitiesthanrelying (Fuad-Luke, 2009). design, whereby theend-user’s voiceinformsthedesignprocess be achievedthrough ademographicdesignapproach suchasco- appeal. and usabilityofthedesigned outcomes,whilestilloffering aesthetic modate awiderangeofwearers byenhancingversatility, flexibility examples ofapparel casesandsoughtdesignsolutions toaccom- cesses, werepeatedly referred tocross-cultural andcontemporary evaluate theprinciplesofuniversal design.Duringthedesignpro- through numerous discussions andcontemplationstoapply The designpracticeswere collaborativelyplannedandcreated and afacultymemberinUS,four-year apparel design program. students majoringindesign(twograduatesandoneundergraduate) pated inthedesignpractices).Theteamconsisted ofthree faculty-student designteam(i.e.theauthorsofthispaper partici- with embeddedconsiderationsofuniversaldesign.The first wasa development, twopracticesofapparel designwere performed To verifytheapplicability ofuniversaldesigninapparel product Practice ofUniversalDesignforApparel Products (Coleman, 2006;Mugge fered andbroaden therangeofconsumersinterested initsdesign the functionalityand/orformofaproduct canincrease thevalueof- and creates anenvironment ofdesigningforend-users. Personalizing personalization takesintoconsiderationasociallyresponsible ethos consumer’s tendencytodisposeofit(Muggeetal,2004).Product ability, astronger emotionalbondwithaproduct willdecrease the ization canbevaluable.From theviewpointofenvironmental sustain- al, 2004). which canincrease theirlevelofattachmentandusability(Muggeet product, consumersdirect time,effort andattentiontotheproduct, obtain aproduct suitedtotheirneedsandtastes.Bypersonalizinga As DeLongetal Influencing thedegree ofattachmentthrough product personal- ©

BLOOMSBURY (2005)pointedout,today’s apparel products are etal

E-Print , 2004).Product personalizationcan Design forMany, DesignforMe:UniversalApparel Products

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277 The Design Journal 278 The Design Journal Paintbrush. Design Two: Inkjet Figure 2 Design One:PupaButterﬂy. Figure 1 Juyeon Park,withKristenMorris,CaseyStannard Hamilton andWildrose

BLOOMSBURYrange offemaleconsumerswithdifferent bodytypes. changes inbodyshapeandsizeoverthelifecourseorforawide for womenwhoare notnecessarilypregnant, butwho gothrough consisting ofascarfblouseandhigh-waistskirt,isanensemble nancy andbeyond.Theseconddesign(Figure 2), optional supportbeltforwomeninthetransitionallifestageofpreg- E-PrintThe firstdesign(Figure 1),PupaButterfly,isatunicdress withan Inkjet Paintbrush, PLC intrinsic versatilitysothewearer maycustomizethedress creative designideations.Atunicdress (Figure 3)wascreated with life stage. aspire tolookattractivewhiletheyare goingthrough thistransitional Western culture (Greer, 1984).Despitethisbelief,manywomenstill stage tobeincongruentwiththestandard ofaestheticbeautyinthe childbearing isconsidered bysomewomeninthistransitionallife 1997).Additionally,(Jenkin andTiggemann, thephysicalreality of nancy state,ortheymayhavepermanentbodysize/shapechanges women likelyexperienceaslowreturnoftheirbodytoitspre-preg- physical changesinwomen’s lives.Afterthebirthofachild,most The transitiontomotherhoodisaperiodofdramaticsocialand product forthetransitionallifestageofpregnancy tomotherhood. The inspirationforthefirstdesignwastocreate awomen’s apparel Design One:PupaButterfly The keydesignelementsidentifiedaboveprovided guidanceto © BLOOMSBURY E-Print Design forMany, DesignforMe:UniversalApparel Products silhouette Butterfly. Dressing variationsforPupa Figure 3 PLC

279 The Design Journal 280 The Design Journal Juyeon Park,withKristenMorris,CaseyStannard Hamilton andWildrose

© principle, nancy. We believethisoutcomemeetsthecriteriaforfirstdesign size andbodyshapechangesthroughout thecourseofherpreg- andsilhouettealsotochangethefitassheexperiences pattern apparel product, playingwithvariousdesignoptions infabriccolour/ and inclusivedesignallowsthewearer tocustomizethelookof cal effort equitable use, considered pertinenttothepracticeofthisdesignproblem included case, fiveprinciplesoutoftheoriginalsevenapplied.The versal designwere carefully examined.Forthisparticular design ing thefinaldesign. team generatedandevaluatedasecondprototype before confirm- such asadrawstringatthehemline,were removed. Thedesign important tothedrapeofgarment,andinitialdesignfeatures, of theinitialprototype foundthatthefabricstretch and weightwere prototype wascreated anddesignevaluationfollowed. Thefitting principles forwomen’s clothing.Oncethedesignwasfinalized,a front/back andopeningwere includedtofulfiltheuniversal design ing details,elasticfabricchoicesandreversibility withnodetermined chosen fortheprototype. Designelementssuchasrelaxed fit,shirr- each designidea.Atunicdress andasupportbeltwere ultimately design principlesaspossible.Theteamcriticallyexamined involved generatingmultipledesignideasusingasmanyuniversal on theLycra jersey-blendfabric.Thecreative explorationstage tory stageoflifeforwomen.Thetextiledesignwasdigitallyprinted for thetextiledesignasameanstovisuallydepictmostcelebra- terflies, colourfulbutterflymotifsandwatercolour strokes were used print toasolidcoloured fabric.Inspired bythemetamorphosisofbut- the dress, andreversing boththedress andthebeltfrom anabstract on by wearingtheoptionalbelt,changingwaybeltisworn fasteners thatmay behard toreach when thewearer isclosetoterm. restrict movementwhilewearingthetunicdress, norare there any on andtakingthegarmentoff andthefabricconstruction donot jersey fabricallowsforample stretch andeaseinputting thegarment easily donanddoff with and compression duringherpregnancy. Thisdress wasdesignedto support accessorytoprovide thewearer withthedesired support the abilitytomanipulatesilhouette,butitalsoactsasa functional BLOOMSBURYsimple indesignforthesamereason. Notonlydoesthebeltprovide design limitconfusionandfaultwhiledressing. Thebeltaccessoryis Theindeterminatefronthow itneedstobeworn. andback ofthe houette ofthistunicdress, sinceitallowsthewearer toeasilydiscern the designedproduct. wearer opportunitiestocreate multipleexpressions ofselfthrough combinationalsoofferstion ofthesilhouetteandcolour/pattern the At theonsetofdesignprocess, thesevenprinciplesofuni- Simple andintuitiveusewasalsoreflected intheminimalistic sil- and equitable use.Theflexibility E-Print size andspaceforapproachuse flexibility inuse, low physicaleffort.Forexample,theLycra simple andintuitivetouse, in expression andcustomiza- . Thisversatile low physi- PLC et al,2009;Sirgy, 1985). can enhancewearingpleasure andextendproduct lifespan (Chang 2007; FletcherandGrose, 2012).Self-congruitythrough thedesign the wearer participatesinthecustomizationofgarments(Fletcher, argue thatuniversaldesigncanextendtheproduct lifespanwhen customize thedress intomore thansixdifferent looks,onemay silhouette manipulation.Becausethewearer, atnoextracost,can possible. Thisdesigngoalwasachievedthrough reversibility and the wearer withasmuchversatility, flexibilityandpersonalization as silhouette. Theemphasisofthisdesignconceptwastoprovide fabric constructionandfibre content,aswelltheunconstrained ing orafterpregnancy, thedress willbewearablebecauseofthe lour combinations andrepeat effects were explored before thefinal painting wasmirrored and overlaidontoeachlayer. Numerous co- this particulartextiledesign, atransparent imageofthe originaloil in amuchshortertimethan inthetraditionaldesignprocess. For ous designmanipulationsin colour, proportion, repeats andoverlay This designprocess allowedthedesignerstoexperiment withvari- the oilpaintingwastransformed intoasophisticatedtextiledesign. electronic file.Usingtextile computer-aided design(CAD)software, one ofthedesigners,wasphotographedandtranslated intoan exploration. Anoriginaloilpaintingon3’×5’canvas,painted by process, thisdress adoptedanartisticprocess ofcreative design of fit(Ashdownetal,2004;Connell2003).Asforthedesign design adjustmentsare desired toincrease consumeracceptance current industrysizingsystem forapparel products, andpotential look forarangeofconsumerswithvariousbodysizesand figures. market, thisdress wascreated toaccommodatethedesired fitand Vionnet’s bias-cutdrapingtechniquesforthecontemporarymass (Amaden-Crawford, 2012).Inspired byandreinterpreting Madeleine be used,aswelltheactualbodysizeandshapeofwearer because itallowsthedesignertointeractwithactualfabric technique isoftenusedincouture designforhigh-endconsumers tual designideasare materializedinathree-dimensional form.This human bodyandskilfulhandiworkinthedesignsinceconcep- Therefore, drapingrequires thedesigner’s comprehension ofthe the humanbody)increating adesign(Joseph-Armstrong, 2008). relies onfabricandathree-dimensional dress form(i.e.areplica of technique isconsideredsystemthat tobetheonlypattern-making ment through asilhouette-shapingtechniquecalleddraping.This accommodate variousbodyshapesandsizeswithasinglegar- The seconddesignwasintendedtoexplore designoptionsto Design Two: InkjetPaintbrush for approachanduse different bodyshapes,whichfulfilstheprincipleof A varietyofbodyshapesandmeasurements existwithinthe This designalsoprovides adequatesizetoaccommodatemany © BLOOMSBURY E-Print . Regardless ofthebodysizebefore, dur- Design forMany, DesignforMe:UniversalApparel Products sizeandspace

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BLOOMSBURYthe dress shape.Thisinnovativedrapingsolutionemphasizedthe front, theloopsfunctionasfastenersforscarfdrapetomaintain the under-bust line(Figure 4).Alongwithabuttonholeatthecenter of thescarfcreated alooptoholdthelongpieceoffabricat be wrappedaround theuppertorsoanddouble-layered edge on astandardized dress formofsize8.Thescarfwas designedto consisted ofahigh-waistdress andascarf(40”×130”),draped corporated intoeverystageofthedesignprocess. Thisgarment then confirmedthefinaldesign. on adress form.Thedesignteamsuggestedslightalterationsand fit andsilhouetteoftheassembledfirstsamplecouldbeevaluated formassproduction.tern Thenaprototype wascreated sothatthe mass production process, allowingrepetitive duplicationsofthepat- was necessarytotranslatethecouture drapingtechniqueintothe were draped andthepatterns digitized.Digitizationof 2005) asacueforthefinaldesignidea,silkchiffon dress was design wasachieved.Taking Vionette’s No.8(Kirke, originalpattern E-Print The principlesofuniversaldesignwere contemplatedandin-

PLC ciples, suchas universal designprinciples.However, thepertinenceofsomeprin- silhouette, generous fitandversatileyetminimalisticlook fulfilthe That is,designfeatures ofeasydonninganddoffing, unstructured of universaldesignare generallyapplicabletoapparel products. example, thedesigncasesinthisstudyproved thattheprinciples compatible withdesignconsiderationsforapparel products. For found, ingeneral,thattheoriginalprinciplesofuniversaldesign were proach. Giventhefundamental uniquenessofapparel products, we universal designinapparel shouldconsideramore demographicap- proximity ofapparel tothewearer, werecognize thatthepracticeof sign isthecreation ofproducts forall.However, duetotheproduct pursues thefullinclusionofusers;utopiangoaluniversal de- ciples inapparel product development.Ideally, universaldesign This studyevaluatedtheapplicabilityofuniversaldesign prin- Discussion andConclusion the principleof scarf, thecreated lookisstillguaranteedtobeacceptable.Thisfulfils wrapping thescarfaround hertorso.Nomatterhowshewrapsthe to express heraestheticpreferences byexploringvariouswaysof in use.Inaddition,thechiffon scarfallowedthewearer avisualway the firsttwoprinciplesofuniversaldesign, wearers ofdiversebodysizesandshapes,whichmetthecriteriafor uniqueness ofthedress andprovided highflexibilityandversatilityto an apparel product displaysnon-traditional features (i.e.innovative low physicaleffort understanding ofhowgarmentswork. are usuallytrainedpersonnelwhohavearelatively high levelof be invitedtoevaluatethisprinciplebecauseexhibitionstaff members principle of which lendsadegree ofsupportfortheachievementdesign the authorsthattheywere abletoassemblethedesignscorrectly, who didnothaveprevious knowledgeofthedresses, informed tions forInkjetPaintbrush)exhibitionstaff. Thestaff members, the dressing instructions(refer toFigure 5forthedressing instruc- hibition. Priortotheexhibition,dresses were shipped alongwith evaluated throughjurieddesignex- participationinaninternational use andlowphysicaleffort. dressing, whichsuggestedbettersolutionsfor high-waist skirtwasfurtherintendedtoprovide guidanceforeasy the wearer. Asaresult, thestretchy meshbodiceattachedtothe noticed thatputtingonthescarftopwasnotinstantlyobviousto fulfils theprincipleof the wearer’s wrappingmethods.Suchanadaptabledesignfeature range offittingsaround thebody, eitherlooseorfitted,depending on body shapingofthescarfallowswearer toexperimentwitha The principleof

BLOOMSBURYperceptible information size andspaceforapproach.Thedesignteam E-Print . Furthermore, theundetermined Design forMany, DesignforMe:UniversalApparel Products perceptible informationand equitable useand forbothdesignswas simple andintuitive ﬂexibility

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concise andmeasurable andalsoalignedwith theoriginal and culturalappropriateness. Theyclaimedthattheseeight goalsare ness, understanding,wellness, socialintegration,personalization in designpractices;thesegoals includebodyfit,comfort,aware- universal designtoimprove thecommunicabilityofuniversal design further studiedinanexperimental setting. the wearer’s cognitiveprocess ofdesignadaptationneedstobe BLOOMSBURYexamples discussedintheliterature review. Thisstudysuggeststhat This findingisalsoconsistentwithinsightsfrom thecross-cultural communication-related principles havenotbeenfullyconfirmed. ciples, duetoitsunique,unconventionaldonningsuggestion, the designoutcomesfulfilledrest oftheuniversaldesignprin- the product. Forexample, inthecaseofInkjetPaintbrush,although through theadaptationprocess tofamiliarizehimselforherselfwith design ideas),attheinitialintroduction stage,thewearer tendstogo Recently, Steinfeld andMaisel(2012)suggestedeightgoalsof E-Print

universal PLC such ‘design formany’, offering flexiblefitand sizestoasmanywearers not complywiththemottoof ‘designforall’,butisinsteadtheactof proved thatthepracticeofuniversaldesignforapparel products may the useofuniversaldesignin apparel product creation. Thisstudy Most importantly, thisstudyprovides furtherempiricalevidenceof erated bydesignerswithdifferent backgrounds, skills andresources. design process, weobservedthatdifferent designideascanbegen- four designers.However, basedon theexperiencethrough the findings ofthepresent study are limitedtotwoempiricalcasesby on objectiveperspectivesshouldbeappliedinfuture research. The universal design;therefore, evaluationstrategiestodraw alternative searchers’ subjectivecriteria fordeterminingtheapplicabilityof ences (product personalization) ishighlyrecommended. of designideasthrough evaluation ofconsumerneedsandprefer- Although itmayslowthedesignprocess (slowdesign),revalidation a thoughtfuldesignprocess willenhanceconsumersatisfaction. versal design.Additionally, improvement ofproduct qualitythrough process, promises theachievementofdesired outcomesofuni- co-design, whichisanactiveformofuserinclusioninthedesign that recognizes theimportanceofunderstandinguserneeds,and Fletcher andGrose, 2012).Universaldesignistheendeavour thereby meetingthecriteriaforsustainabledesign(Chapman,2005; is likelytouseitandbeemotionallyattachedforalongertime, is satisfiedwiththequalityandperformanceofaproduct, heorshe in long-termproduct relationships. Therefore, whentheconsumer the promotion ofdeeperconsumerproduct satisfaction oftenresults one concepttoanother. AsNiinimakiandKoskinen(2011)asserted, and product personalization,likelycreate aseamless crossover from cluding universaldesign,sustainableslowco-design the literature review. Thatis,thecontemporarydesignparadigms,in- of universaldesignwiththeotherparadigmsmentionedin for appareltheinterwovenrelationships design,wehavediscerned outcomes oftheoriginalprinciplesuniversaldesign. these newgoalsshouldbefurtherevaluatedandcompared withthe the goalsare notthoroughly explained.We believethatthevalidityof definitions oftheeightgoalsare stillnotexplicitandmeasurable, culture tohelpimplementuniversaldesigninpractice;however, comfort. SteinfeldandMaisel(2012)developedanorganizational on designopportunitiesforpersonalization,culturalawareness and that theaspectoflowphysicaleffort canbepursuedbyfocusing critical informationforuseiseasilyperceived. Theyalsosuggested ally theconceptofperceptible informationrequires assurancethat cultural appropriateness andhealthwellness,addition- achieved through anunderstandingandawareness ofuserneeds, simple andintuitiveuseperceptible information design principles.According totheirargument,theprinciplesof The evaluationmethodsinthepresent studyrelied onthere- anemphasisonaddressing theprinciplesof universaldesign With © BLOOMSBURY E-Print Design forMany, DesignforMe:UniversalApparel Products

can bothbe

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© Amaden-Crawford, C.(2012). References on theconceptofuniversaldesigninfieldapparel. hope thatthisstudybuildsfurtherawareness andanincreased focus tive designsolutionsforflexibleandversatileapparel products. We to explore theircreativity andcriticalthinkingskillsinfindinginnova- apparel products are aneffective frameworktoencouragedesigners concept andprinciplesofuniversaldesignintheprocess of of wearingandshaping.Furthermore, thefindingsshowthat dressing toexpress thewearer’s individualitythrough variousways as possible.Itisalso‘designforme’,providing versatilewaysof Blom, J.(2000).‘Personalization–ataxonomy’.In Bjorgvinsson, E.B.(2008).‘Open-endedparticipatorydesignas Birkeland, J.(2002).DesignforSustainability:ASourcebookof Ashdown, S.P., Loker, S.,Schoenfelder, K.A.andLyman-Clarke, Boulanger, C.(1997).Saris:AnIllustratedGuidetotheIndianArtof Chang, C.,Chen,H.andHuang, I.(2009).‘Theinterplaybetween Chapman, J.(2005). Center forUniversalDesign(2012). BLOOMSBURYCarroll, K.E.andKincade, D.H.(2007).‘Inclusivedesignin Carroll, K.E.andGross, K.(2010).‘Anexaminationof clothingissues Burgstahler, S.E.(2008).‘Universaldesignofinstruction:From prototypical practice’.CoDesign,4(2):85–99. Integrated, Eco-logicalSolutions.London:Earthscan. www.tx.ncsu.edu/jtatm [accessed 10February2011]. Apparel, ManagementandTechnology, 4(1).Available at:http:// L. (2004).‘Using3Dscansforfitanalysis’. Publications. Systems, TheHague,Netherlands,pp.313–314. of 147–153. Mediational analyses’. online designingprocess anditseffect oncustomersatisfaction: customer participationand difficulty ofdesignexamplesinthe ences andEmpathy.London:Earthscan. 2012] sod5/cud/about_ud/udprinciples.htm [accessed1November Design. Available at:http://www.ncsu.edu/www/ncsu/design/ 35(1): 289–315. disabilities’. apparel product developmentforworkingwomenwithphysical Family andConsumerScienceResearchJournal,39(1):2–17. and physicallimitationsintheproduct developmentprocess’. Cambridge, MA:Harvard EducationPress. pp.23–44. Universal DesigninHigherEducation:FromPrinciplestoPractice. principles topractice’.InBurgstahler, S.E.andCory, R.C.(eds), Draping. NewYork: ShaktiPress International.

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Email: [email protected] CO 80526,USA. Hamilton Wildrose Email: [email protected] USA. BLOOMSBURYEnvironment, Oregon StateUniversity, Corvallis,OR97331-5101, Casey Stannard Email: [email protected] USA. Science andApparelUniversity, Design, Cornell Ithaca,NY14853, Kristen Morris Email: [email protected] Tel: +970-491-4104 USA. and Merchandising, ColoradoStateUniversity, FortCollins,CO, Juyeon Park Addresses forCorrespondence specializing inapparel designandfashionillustration. State University. and CaseyStannardisalsopursuingherdoctoraldegree atOregon Kristen Morris University. wellness. Therest oftheauthorsare graduatesof Colorado State ests focusonapparel product developmentforhuman healthand Merchandising atColoradoStateUniversity. Herscholarlyinter- Juyeon Parkisassistantprofessor intheDepartmentofDesignand Biographies Watkins, S.(1988).‘Usingthedesignprocess toteachfunctional Vanderheiden, G.C.andVanderheiden, K.R.(1992).‘Guidelines for Van Assche,A.(ed.)(2005).FashioningKimono:DressandModernity apparel design’. 2012]. consumer_product_guidelines/toc.htm [accessed2December Development Center. Available at:www.trace.wisc.edu/docs/ … TechnologiesResearch toMakeEveryday Accessible&Usable to peoplewithdisabilitiesorwhoare aging(Working Draft1.7)’. the designofconsumerproducts toincrease theiraccessibility in EarlyTwentieth-Century Japan.Milan:Woodbridge Publishers. 10–14. E-Print Trace, UniversityofWisconsin-Madison, Research and , PhD,1574CampusDelivery, DepartmentofDesign , T41HumanEcologyBuilding,DepartmentofFiber iscurrentlyUniversity, adoctoralstudentatCornell Wildrose HamiltonisafreelanceWildrose designerandartist , 231MilamHall,SchoolofDesignandHuman , 1705HeatheridgeRd.Unit L201,FortCollins, Clothing andTextile ResearchJournal ,

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