axÉ „ WtÇwç WEARABILITY, DESIGN INNOVATION AND THE FORMAL WHITE DRESS SHIRT FOR MEN Dean Brough, Master of Arts (Research) Queensland University of Technology Creative Industries, 2008 Principle Supervisor - Dr Luke Jaaniste Associate Supervisor - Professor Suzi Vaughan Keywords Fashion, design, menswear, dress shirt, white shirt, blouse, wearability, practice- led research, innovation, Neo-Dandy, dandy, gendered object. 1 Abstract This practice-led research creates innovative menswear designs for formal white dress shirts, within boundaries of contemporary mainstream wearability. As a result of an historical analysis, a conceptual spectrum is developed to scope the possibilities of the contemporary white dress shirt, from the orthodox menswear shirt to the many variations of the women’s blouse. Within this spectrum for the white shirt, the possibilities for innovation are discussed in terms of a threshold position between the shirt and the blouse - a position that parallels that of the dandy figure who subversively confronts dress norms of the day. This position is then explored in relation to an acceptable/ ‘wearable’ aesthetic which I have labelled ‘Neo-Dandy’. White shirts from contemporary menswear designers are then examined relative to this aesthetic. In doing so, this examination highlights the white dress shirt as a garment that is ripe for experimentation. My own creative design process is then described as taking up the challenge of Neo-Dandy design innovation for the contemporary white dress shirt. On this archetypal garment, different styles and varying degrees of detailing were tested. A range of ‘concept shirts’ were produced, tested and documented, with each shirt succeeding to various degrees in achieving a Neo-Dandy aesthetic. Based on this range, a list of design principles for achieving this aesthetic are identified. The weighting is 60% for the design objects (a collection of men’s white dress shirts that explore wearability and design innovation within a Neo-Dandy aesthetic) and 40% for the design discussion (exegesis and supporting appendices). 2 Key Terms – Glossary Formal wear – a broad, contemporary notion of formal wear and formal occasions (not simply the high formality of white and black tie dress codes) is being applied in this research; it includes evening wear, the formal end of social wear and cosmopolitan professional dress (where the suit and tie may not be dominant). Modern white shirts (generic to both men and women) – upper body garment that is made from white fabric and has a collar, front opening and some form of sleeving. Encompasses a broad diversity of style, fit, silhouette and fabric type and worn from around the 1890s to the present. Note: the British English usage of the term ‘shirt’ is being followed in this research. American English usage of the term ‘shirt’ includes tee-shirts and other tops. These fall outside the definition applied in this research as they do not include collar treatments and front openings. Formal white dress shirts (for men) – shirts that are made from white fabric and are designed to be worn as formal wear for men. Like all shirts, white formal shirts are an upper-body garment with a collar treatment, front opening with buttons, set in sleeving and cuffs. The shirts are usually almost entirely white, but may have some colour in minor trimmings (such as buttons). Fabric type is either 100% cotton or cotton synthetic blend. Note: although men’s formal white shirts are often worn with a tie, this research is focused upon formal white shirts that can be worn without extra accessories such as ties and vests. White blouses (for women) – upper body garment worn by women that is made from white fabric and has a collar, front opening and some form of sleeving. A broad array of styles exist, ranging from decorative to plain in appearance, and loose to fitted in silhouette. A large diversity of fabric types and densities are used. Note: like the term ‘shirt’, ‘blouse’ can sometimes be used as a generic description that may include tops which have no collar or sleeves. However, such tops fall outside of the definition applied in this research. 3 Blousy – used in this research to refer to aspects of a shirt’s design which belong to the blouse, even if incorporated into a men’s dress shirt. Specific blousy attributes are: looseness of fit or a female silhouette that curves to fit bust and waist; detailing that exists in areas and excesses beyond those found in the tuxedo shirt; and fabric that is highly sheer. Mainstream wearability – used to describe the degree to which a garment can be worn in a particular setting whilst falling within conventions of dress that are shared by mainstream communities for that particular time and place. Furthermore, wearability is relative to the identity of those who are wearing it (in terms of age, social status, occupation and, most relevant for this research, gender). A garment is highly ‘wearable’ if it strongly adheres to such conventions. Issues of garment comfort, fit, marketability or saleability relate, but do not equate, to this definition of wearability. In reference to menswear and womenswear in cosmopolitan settings, mainstream wearability differs along gender lines. In the main, for women, both menswear (what is sold as the domain of men) and womenswear (what is sold as the domain of women) are wearable, while for men, only menswear is wearable. If men wear clothes with significant characteristics aligned to womenswear, it is not considered within mainstream norms for dress styles. Such dressing is deemed to reside in the extremes of either cross-dressing or eccentric dress. ‘Neo-Dandy’ aesthetic – an aesthetic for men’s clothing that appears refined, formal, and leans towards characteristics of womenswear. The aesthetic attempts to be experimental and innovative with menswear and to confront, or at least nudge, gender conventions, whilst still operating within mainstream wearability for men. It could be viewed as operating on the cusp-of-wearability for men and it can be argued that this represents part of a growing trend in cosmopolitan menswear in the last decade or so which is heading towards a less gender restrictive aesthetic. Design Innovation – effecting a change from an established custom of design practice and form. Concept shirt – prototype garment to test innovative possibilities without being limited by marketplace pragmatics; not a final sample ready for commercial production. 4 Table of Contents Keywords 1 Abstract 2 Key Terms – Glossary 3 Table of Contents 5 Statement of Authorship 7 Acknowledgement 8 Introduction – Design Approach Background 10 Aims, research question and outputs 12 Methodology 14 Significance 15 Chapter 1 – Design Context 1.1 Defining Mainstream Wearability 18 1.2 Mainstream Wearability and Gender Norms in the Modern Era 20 1.3 Shifting Dress Norms and the Dandy Figure 25 1.4 Recent Trends and the Neo-Dandy Aesthetic 29 Chapter 2 – Design Evolution 2.1 Evolution of the Modern Men’s White Shirt 35 2.2 Evolution of the Modern Women’s White Blouse 54 2.3 Contemporary White Dress Shirt Designers and the Neo-Dandy 67 aesthetic Chapter 3 – Design Journey 3.1 Machinery, Studio and Pattern Block 84 3.2 Designing and Assembling the Concept Shirts 87 3.3 Wearing, Exhibiting and Documenting the Concept Shirts 89 3.4 Conceptualising the Collection of Concept Shirts 98 3.5 Bringing Together the Research – the Final Exhibition 102 Summary – Design Contributions Central Contribution – the concept shirts and key design principles 110 Broader Contributions 113 Further Research 115 Reflection 116 5 Appendices – Design Notebook A.1 Characteristic differences between men’s dress shirts and women’s 119 blouses A.2 Complete thumbnails of white shirts by other designers 121 A.3 Images and studio design notes on all sixty concept shirts 125 …...Safe (Conservative) 126 …...Mildly-Dandy (Approaching) 130 …...Neo-Dandy (Aligning) 137 …...Blousy (Beyond) 157 …...Shirts not displayed in the exhibition (no matrix position) 185 A.4 Specific elements of experimentation on the concept shirts 191 References Texts cited 194 Figures – General (Chapter 1 and 2) 198 Figures – Contemporary White Dress Shirt Designers (Chapter 2) 199 6 Statement of Authorship The written and creative work contained in this exegesis has not been previously submitted to meet the requirements of an award or degree at this or any other higher education institution. To the best of my knowledge and belief, the exegesis contains no material previously published or written by another person except where due references are made. Signature: Date: 17.11.08 7 Acknowledgement I would like to express my deep and sincere gratitude to my partner, Judith Brough, for her understanding and encouragement during this journey. Her foresight and emotional strength has been of great value for me. To my two beautiful young children, Remington and Avalon, I apologise for the considerable loss of family time as a result of trying to juggle part-time study and full-time work commitments and I hope you understand. To my long term work colleague, Wendy Armstrong, I thank you for being a shoulder to confide in and greatly appreciate your friendship. You were always prepared to listen to me and I have enormous gratitude for your time and advice. To my principle supervisor, Dr Luke Jaaniste, I wish to express my sincere thanks for your time and vision for this research project. I would also like to warmly convey my appreciation to Professor Suzi Vaughan for her input and assistance. Finally, I would like to mention my gratitude for the use of QUT’s excellent gallery facilities and the assistance of all precinct staff involved, in particular Nigel Oram and Jason Zadkovich. 8 (Intentionally left blank) 9 Introduction – Design Approach This section introduces the reader to my background as well as the aims, methodology, outputs and significance of this research project.