DOCSLIB.ORG

I LEGGINGS ARE the NEW DENIM: an INVESTIGATION OF

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
I LEGGINGS ARE the NEW DENIM: an INVESTIGATION OF LEGGINGS ARE THE NEW DENIM: AN INVESTIGATION OF CONSUMER ACTIVEWEAR EXPERIENCE A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirement of the Degree DOCTOR OF PHILOSOPHY By Xiaochen Zhou August 2018 Examining Committee Members: Daniel C. Funk, Ph.D., Advisory Chair, School of Sport, Tourism, and Hospitality Management Thilo Kunkel, Ph.D., School of Sport, Tourism, and Hospitality Management Lu Lu, Ph.D., School of Sport, Tourism, and Hospitality Management Clare Hanlon, Ph.D., External Member, Victoria University, Australia i ABSTRACT Building upon the Sport Experience Design (SX) framework of Funk (2017), this dissertation investigates consumer experience with activewear in different usage contexts. The intersection of user and context in the SX framework is examined by integrating the means-end chain theory of Gutman (1982) and the situation research of Belk (1975). This theoretical integration creates a conceptual approach to understand how consumers construct and evaluate the sport experience in different contexts. Three research questions were asked about what types of perceptions consumers develop with activewear, how the perceptions form the means-end chain structure, and how the structure varies across fitness and non-fitness contexts. Findings of Study 1 revealed five important attributes (i.e., fashion design, color and pattern, fit, functional design, and fabric), four consequences (i.e., physical appearance, physical comfort, social relationship, and task facilitation), and three end-state values (i.e., fun and enjoyment, self-respect, and sense of accomplishment) that connect and form the means-end chain structure. Informed by findings of Study 1, Study 2 found the direction of means-end chain structure and its specific paths vary across fitness and non-fitness contexts. Findings contribute to the SX framework by using the means-end chain theory as a theoretical approach to examine consumers’ experience with a sport product while considering the context in which the product is used. Practical implications are provided on how brands can link product attributes with consumers’ self-concepts to enhance the consumer experience. ii ACKNOWLEDGMENTS This dissertation would not have been possible without the support and guidance of many individuals. First and foremost, I would like to thank my advisor and mentor, Dr. Daniel C. Funk. His knowledge and wisdom have not only shaped my research interest in sport consumer experience but also my understandings of academic study. Without Dr. Funk’s guidance and support, I would not have grown so much during my Ph.D. journey. I would also like to thank my committee members, Dr. Lu Lu and Dr. Thilo Kunkel, as well as my external reader, Dr. Clare Hanlon. Their comments and advice have made this dissertation stronger and inspired me with new ideas. I would also like to thank Allison Hossack for her helps on developing this dissertation. I would like to thank all my colleagues and the faculty at the School of Sport, Tourism, and Hospitality Management and the FOX School of Business at Temple University. The intellectual conversations with them help me become a better researcher and pave the way for my future career as a professor. Last but not least, I would like to thank my parents, Caiying Yan and Xuling Zhou, and my husband, Hao Huang, for their love and support. iii TABLE OF CONTENTS Page ABSTRACT ........................................................................................................................ ii ACKNOWLEDGMENTS ................................................................................................. iii LIST OF TABLES ............................................................................................................. ix LIST OF FIGURES ............................................................................................................ x CHAPTER 1. INTRODUCTION ....................................................................................................... 1 Statement of the Problem ........................................................................................ 2 Purpose of the Study ............................................................................................... 3 Significance of the Study ........................................................................................ 4 Delimitation of the Study ........................................................................................ 5 Definition of Terms................................................................................................. 7 2. REVIEW OF LITERATURE ...................................................................................... 8 Sport Experience Design Framework ..................................................................... 8 Means-end Chain Theory ...................................................................................... 12 Inclusiveness and Abstraction................................................................... 13 Means-end Chain Content......................................................................... 14 Attributes....................................................................................... 14 Consequences ................................................................................ 16 iv End-state Values ........................................................................... 18 Means-end Chain Structure....................................................................... 20 The Inclusive and Non-inclusive Views ....................................... 22 The Upward and Downward Directions ....................................... 24 Fitting the Means-end Chain Theory Into the SX Framework ................. 26 Product-Usage Context ......................................................................................... 28 Physical Surrounding ................................................................................ 29 Temporal Perspective................................................................................ 29 Antecedent State ....................................................................................... 30 Social Surrounding.................................................................................... 30 Task Definition ......................................................................................... 31 Summary and the Conceptual Approach .............................................................. 32 Research Questions ............................................................................................... 35 3. METHOD .................................................................................................................. 38 Research Subjects ................................................................................................. 39 Study 1 .................................................................................................................. 40 Participants and Interview Procedure ....................................................... 41 Data Analysis ............................................................................................ 46 Study 2 .................................................................................................................. 48 Participants and Procedure ........................................................................ 49 v Measures ................................................................................................... 54 Data Analysis ............................................................................................ 57 4. RESULTS .................................................................................................................. 61 Study 1 Findings ................................................................................................... 61 Identified Elements, The Implication Matrix, And The HVM ................. 61 Identified Means-End Chain Elements ......................................... 61 The Implication Matrix ................................................................. 65 The Hierarchical Value Map ......................................................... 65 Attributes................................................................................................... 68 Functional Design ......................................................................... 68 Fabric ............................................................................................ 69 Color and Pattern .......................................................................... 69 Fit .................................................................................................. 70 Fashion Design.............................................................................. 71 Consequences ............................................................................................ 72 Physical Appearance ..................................................................... 72 Physical Comfort .......................................................................... 74 Social Relationship ....................................................................... 74 Task Facilitation............................................................................ 75 End-State Values ....................................................................................... 76 vi Fun And Enjoyment .....................................................................
Load more

Recommended publications
  • Charitably Chic Lynn Willis
    Philadelphia University Spring 2007 development of (PRODUCT) RED, a campaign significantly embraced by the fashion community. Companies working with Focus on . Alumni Focus on . Industry News (PRODUCT) RED donate a large percentage of their profits to the Global Fund to fight Lynn Willis Charitably Chic AIDS. For example, Emporio Armani’s line donates 40 percent of the gross profit By Sara Wetterlin and Chaisley Lussier By Kelsey Rose, Erin Satchell and Holly Ronan margin from its sales and the GAP donates Lynn Willis 50 percent. Additionally, American Express, Trends in fashion come and go, but graduated perhaps the first large company to join the fashions that promote important social from campaign, offers customers its RED card, causes are today’s “it” items. By working where one percent of a user’s purchases Philadelphia with charitable organizations, designers, University in goes toward funding AIDS research and companies and celebrities alike are jumping treatment. Motorola and Apple have also 1994 with on the bandwagon to help promote AIDS a Bachelor created red versions of their electronics and cancer awareness. that benefit the cause. The results from of Science In previous years, Ralph Lauren has the (PRODUCT) RED campaign have been in Fashion offered his time and millions of dollars to significant, with contributions totaling over Design. Willis breast cancer research and treatment, which $1.25 million in May 2006. is senior includes the establishment of health centers Despite the fashion industry’s focus on director for the disease. Now, Lauren has taken image, think about what you can do for of public his philanthropy further by lending his someone else when purchasing clothes relations Polo logo to the breast cancer cause with and other items.
    [Show full text]
  • By: Mikayla Wollner Table of Contents African Fashion … 3 Nails a Short Story … 4 Teenage Girl Fashion … 5 Unfortunate Fashion … 6 Letter from the Editor … 7
    By: Mikayla Wollner Table of contents African Fashion … 3 Nails a short story … 4 Teenage girl fashion … 5 Unfortunate fashion … 6 Letter from the editor … 7 Strike a pose … 8 Letter to the editor … 9 Fashion from the 1890s … 10 Fashion from the 80s … 11 Yoggies Activewear … 12 African Clothing English French The idea of African clothing inspires images of L'idée de vêtements africains inspire des images rich colors and ceremonial dress but, the fact is, de couleurs riches et robe de cérémonie mais, African clothing is as diverse as the African du fait n'est, vêtements africains est aussi continent. Africa's ancient civilizations diversifiée que sur le continent africain. demonstrate the continent's long history of Anciennes civilisations de l'Afrique montrent creating clothing for utilitarian as well as longue histoire de la création de vêtements à celebratory and symbolic purposes. Despite its des fins utilitaires ainsi que de célébration et many variations, there are several unifying symboliques du continent. Malgré ses features of and facts about African clothing. nombreuses variations, il ya plusieurs caractéristiques unificatrices de faits et sur les vêtements de l'Afrique. The Time I Cut My Nails Lucy collected her fingernails since age 12. day for school and people could not believe Yep I said 12. What makes this a tad bit it. Lucy was told so many times how stranger is that Lucy is 13 years old. And if beautiful her nails were. But this was not you can figure that out she didn’t cut her really what Lucy was envisioning.
    [Show full text]
  • Techniques of Fashion Earrings Pdf, Epub, Ebook
    TECHNIQUES OF FASHION EARRINGS PDF, EPUB, EBOOK Deon Delange | 72 pages | 01 Sep 1995 | Eagles View Publishing | 9780943604442 | English | Liberty, Utah, United States Techniques of Fashion Earrings PDF Book These stunning geometric earrings are perfect for a night out on the town or a shopping trip with the girls. And even if you don't go straight over your pencil lines, just kind of go with the flow; let your body feel it as you go. Trends influence what all of us wear to some extent, which is fine. Brendan How to draw human body for fashion design? Do share with us your creations! Two completely different looks, one set of clothe. Spice up some simple silver hoops with this awesome video tutorial for how to make bead earrings. You'll end up losing yourself. My advice? Make a note of the combinations you like if that helps to trigger your memory later. Stringing beads on multiple wires. The days of only wearing one tone of metal is over. When it comes to DIY jewelry, beaded earrings are some of the prettiest patterns out there. As an illustration, one pair of earring contains three hanging flowers: gentle pink, pale purple, and deep purple. Your email address will not be published. Tutorial Features: This beaded Christmas tree pattern will teach you how to make peyote stitch earrings and a peyote stitch necklace. All these bangle styles may be worn in one or each arms relying in your outfit, model and occasion. Eco-friendly jewellery. Try some dangling pearl earrings with a summer print for a fun and flirty look.
    [Show full text]
  • American Culture: Fashion and Sustainability
    AMERICAN CULTURE: FASHION AND SUSTAINABILITY A thesis submitted to the Kent State University Honors College in partial fulfillment of the requirements for Departmental Honors by Kelsey Merritt May, 2018 Thesis written by Kelsey Merritt Approved by _____________________________________________________________________, Advisor _____________________________________________________________________, Co Advisor ______________________________________________, Director of Fashion Accepted by ___________________________________________________, Dean, Honors College ii TABLE OF CONTENTS LIST OF FIGURES…..……………………………………………...……………………iv LIST OF TABLES………..………………………………………………………………vi ACKNOWLEDGMENT………………………………………….……………………..vii CHAPTERS I. INTRODUCTION……………………………………………….………..1 Delimintations……………………………………………………………..4 II. LITERATURE REVIEW………………………………………….………6 III. DATA COLLECTION METHODS……………………………………..12 IV. FINDINGS AND DISCOVERINGS…………………………………….42 V. RECOMMENDATIONS………………………………………………...48 REFERENCES……………………………………………………………………...…...54 APPENDIX 1. Appendix A………………………………………………………………58 2. Appendix B………………………………………………………………60 3. Appendix C………………………………………………………………63 4. Appendix D………………………………………………………………66 iii LIST OF FIGURES Figure 1: Inside Stoll knit factory………………………………………………………..15 Figure 2: Stoll’s knit factory entrance…………………………………………………...16 Figure 3: Sample garments created………………………………………………………16 Figure 4: Ka de We shoe floor…………………………………………………………...18 Figure 5: Rug maker……………………………………………………………………..20 Figure 6: Testing rug making myself…………………………………………………….20
    [Show full text]
  • JEWELLERY TREND REPORT 3 2 NDCJEWELLERY TREND REPORT 2021 Natural Diamonds Are Everlasting
    TREND REPORT ew l y 2021 STATEMENT J CUFFS SHOULDER DUSTERS GENDERFLUID JEWELLERY GEOMETRIC DESIGNS PRESENTED BY THE NEW HEIRLOOM CONTENTS 2 THE STYLE COLLECTIVE 4 INDUSTRY OVERVIEW 8 STATEMENT CUFFS IN AN UNPREDICTABLE YEAR, we all learnt to 12 LARGER THAN LIFE fi nd our peace. We seek happiness in the little By Anaita Shroff Adajania things, embark upon meaningful journeys, and hold hope for a sense of stability. This 16 SHOULDER DUSTERS is also why we gravitate towards natural diamonds–strong and enduring, they give us 20 THE STONE AGE reason to celebrate, and allow us to express our love and affection. Mostly, though, they By Sarah Royce-Greensill offer inspiration. 22 GENDERFLUID JEWELLERY Our fi rst-ever Trend Report showcases natural diamonds like you have never seen 26 HIS & HERS before. Yet, they continue to retain their inherent value and appeal, one that ensures By Bibhu Mohapatra they stay relevant for future generations. We put together a Style Collective and had 28 GEOMETRIC DESIGNS numerous conversations—with nuance and perspective, these freewheeling discussions with eight tastemakers made way for the defi nitive jewellery 32 SHAPESHIFTER trends for 2021. That they range from statement cuffs to geometric designs By Katerina Perez only illustrates the versatility of their central stone, the diamond. Natural diamonds have always been at the forefront of fashion, symbolic of 36 THE NEW HEIRLOOM timelessness and emotion. Whether worn as an accessory or an ally, diamonds not only impress but express how we feel and who we are. This report is a 41 THE PRIDE OF BARODA product of love and labour, and I hope it inspires you to wear your personality, By HH Maharani Radhikaraje and most importantly, have fun with jewellery.
    [Show full text]
  • HISTORY and DEVELOPMENT of FASHION Phyllis G
    HISTORY AND DEVELOPMENT OF FASHION Phyllis G. Tortora DOI: 10.2752/BEWDF/EDch10020a Abstract Although the nouns dress and fashion are often used interchangeably, scholars usually define them much more precisely. Based on the definition developed by researchers Joanne Eicher and Mary Ellen Roach Higgins, dress should encompass anything individuals do to modify, add to, enclose, or supplement the body. In some respects dress refers to material things or ways of treating material things, whereas fashion is a social phenomenon. This study, until the late twentieth century, has been undertaken in countries identified as “the West.” As early as the sixteenth century, publishers printed books depicting dress in different parts of the world. Books on historic European and folk dress appeared in the late eighteenth and nineteenth centuries. By the twentieth century the disciplines of psychology, sociology, anthropology, and some branches of art history began examining dress from their perspectives. The earliest writings about fashion consumption propose the “ trickle-down” theory, taken to explain why fashions change and how markets are created. Fashions, in this view, begin with an elite class adopting styles that are emulated by the less affluent. Western styles from the early Middle Ages seem to support this. Exceptions include Marie Antoinette’s romanticized shepherdess costumes. But any review of popular late-twentieth-century styles also find examples of the “bubbling up” process, such as inner-city African American youth styles. Today, despite the globalization of fashion, Western and non-Western fashion designers incorporate elements of the dress of other cultures into their work. An essential first step in undertaking to trace the history and development of fashion is the clarification and differentiation of terms.
    [Show full text]
  • Class Attire
    QC DANCE CLASS ATTIRE Overview QC Dance maintains a powerful and strict code of honor and dress. Proper dance attire is mandatory for each class. Hair is to be pulled back and away from the face for all classes. For all ballet classes, dancers should have hair affixed in a secure bun for their time in the studio. Class appropriate shoes are mandatory, and dance should positively MAY NOT be worn outside the studio. Parents are asked to label all shoes and dance accessories clearly with their child’s first and last name to ensure articles are identifiable for each dancer. QC Dance does its very best to ensure a safe and secure dance environment, however we cannot assume responsibility for any articles that are misplaced or missing from among any student’s personal belongings. Shoe & Attire Requirements PRE-BALLET COMBINATION TAP/BALLET Leotard: Black, Pink, or White - (Weissman MT 12458) Leotard: Black, Pink, or White - (Weissman MT12460) Tights: Ballet Pink - (Weissman W990C) Tights: Ballet Pink - (Weissman W990C) Shoes: Full or Split Sole Ballet shoe (Weissman B-40) Ballet Shoes: Full or Split Sole - (Balera B-40) Skirt: Optional Tap Shoes: Black - (Balera B-60) Skirt: Optional BALLET I & II TAP / HIP HOP Leotard: Black, Pink, or White - (Weissman MT12456) Leotard: Any Color - (Weissman MT12460) Tights: Ballet Pink - (Weissman W990C) Leggings: Black - (Weissman CF9997 optional) Shoes: Full or Split Sole Ballet Shoe (Weissman B-40) Shoes: Canvas low-top Sneaker (ex. Weissman WL9382) Skirt: Optional (Can be purchased at any store, but may NOT
    [Show full text]
  • Ever-Changing Technology Keeps Apparel Makers and Retailers On
    NEWSPAPER 2ND CLASS $2.99 VOLUME 70, NUMber 16 april 11–17, 2014 THE VOICE OF THE INDUSTRY FOR 69 YEARS TRADE SHOW REPORT Retailers Bring More Competitive Biz to LA Majors Market By Andrew Asch Retail Editor From technology to real estate, the way that major re- tailers do business is changing, and some of those chang- es were reflected in the Los Angeles Majors Market, a department store–focused event that ran April 7–9 at the California Market Center. “It’s becoming a real buyer’s market,” said Michael Sil- vestri, vice president of sales and marketing of outerwear for YMI, a Los Angeles–headquartered, denim-based line that exhibited in a temporary showroom in the CMC’s lobby. “They are fine-tuning their open-to-buy,” Silvestri said. “As a manufacturer, you have to become more dead- on with the assortment.” While Majors Market exhibitors had a wide range of estimates on buyer traffic—ranging from an increase to a decline over last year—the vast majority agreed that buy- ing habits have changed. “When they walk in, they know what they want. If you ➥ Majors Market page 8 RETAIL On left: Living Doll tank and shirt jacket, Boom Boom Jeans pant, Pink USA hat; on right: Signorelli tank, Revolution by Revolt short, Trixxi shirt, Accessory Collective hat Fashioning a New La ALISON A. NIEDER FALL FOR GRUNGE: “Nouveau Grunge” was one of the three trends for Fall 2014 featured at the Directives West trend presentation, held on opening day of LA Majors Market. For more from the show, see page 7.
    [Show full text]
  • Women's Hosiery
    STUDIO N - FOR INTERNAL AND VENDOR USE ONLY ONLINE PHOTOGRAPHY GUIDE - Womens_Hosiery 1. TABLE OF CONTENTS 2. Hosiery Leggings 3. Sheer, Textured & Thigh high Hosiery 4. Shaper Hosiery 5. Sweater Tights 6. Over the Knee Socks, Leg Warmers & Trendy Thigh Highs - onfig 7. Socks: Knee-hi / no-show / ankle / -onfig 8. Socks: Womens sock sets / boot liners –product 9. Socks: Nike Elite 1 STUDIO N - FOR INTERNAL AND VENDOR USE ONLY ONLINE PHOTOGRAPHY GUIDE - Womens_Hosiery Hosiery Leggings MAIN AND ALT PRESENTATION Front Lower Front view, crop above waist/ belly button. Styling to cover top of waistband. Back Lower Back view, crop above waist. Style with cami to show waistband and possible pocket detail. Side Lower Side view. Crop above waist. NO HANDS Style with cami to show waistband and possible pocket detail. Left or right depending on the details. Detail Lower Detail view as shown unless there is a better detail determined on set. Zoom Lower Zoom detail - for closeup of fabric, textures and prints. Avoid seams, wrinkles and graphics on tees. (Vendor images exempt) Front Full (look) Gold Look / Editorial / Catalog / video, if available ADDITIONAL INFO swatch presentation Styling Exception: Multipurpose Hosiery Legging styled bare feet and bare top when requested. 2 STUDIO N - FOR INTERNAL AND VENDOR USE ONLY ONLINE PHOTOGRAPHY GUIDE - Womens_Hosiery Sheer, Textured, Control Top & Thigh High Hosiery MAIN AND ALT PRESENTATION Side Full Side view with right leg forward (watch distance between feet) NO HANDS Crop above top of hosiery. Detail Full (optional) Detail view if requested or needed. Front, Back or closeup on detail.
    [Show full text]
  • Dress Code 2021-22
    Dress Code 2021-22 Pre-K 3 and Pre-K 4 Dress Code Guidelines *General Guidelines: -loose fitting clothes/easy to button and unbutton -shoes with closed toe and a back/no light up shoes/no boots -hair is neat, clean & well groomed/only a natural color/no colored hair extensions, feathers, etc. -Distracting haircuts will not be permitted -make-up, lipstick not allowed *Off Campus Attire: -red shirt -blue jeans, khaki or black pants or capri pants -blue jean, khaki or black skirt (skirts must be knee length) -blue jean, khaki or black shorts (shorts must be knee length) *Mass Attire: -red shirt -khaki or black pants (jeans are not allowed on Mass days) -khaki or black skirt (skirts must be knee length) -students are not to wear shorts to Mass -students are not to change clothes after Mass Dress Code 2021-22 Kindergarten-4th Grade Dress Code Guidelines *General Guidelines -polo shirts: collared/logo-free (unless approved red standard Mass shirt)/2 or 3 buttons/no tight fitting shirts/shirt must cover waistband when arms are raised and when students are seated/shirts must have sleeves and modest necklines/ shirts must not be transparent: red, white, black or gray only -school approved spirit shirts may be worn on Tuesdays and Thursdays only: red, white, black or gray only/If Mass falls on Tuesday or Thursday, Mass attire is to be worn -pants, capri pants, shorts and skirts are to be jean material, black, or khaki in color/Skirts and shorts are to be knee length/Athletic shorts or pants are not allowed/Hip huggers are not allowed/No skin or undergarment may show when seated or standing/Garments with holes are not permitted -visible undergarments (undershirts, leggings, etc.) are to be red, white, black or gray in color -socks may be any color.
    [Show full text]
  • An Evaluation of the Performance of Leggings Based on a Consumer Survey
    University of Kentucky UKnowledge Theses and Dissertations--Retailing and Tourism Management Retailing and Tourism Management 2019 AN EVALUATION OF THE PERFORMANCE OF LEGGINGS BASED ON A CONSUMER SURVEY Virginia Elizabeth Groppo University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.312 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Groppo, Virginia Elizabeth, "AN EVALUATION OF THE PERFORMANCE OF LEGGINGS BASED ON A CONSUMER SURVEY" (2019). Theses and Dissertations--Retailing and Tourism Management. 17. https://uknowledge.uky.edu/mat_etds/17 This Master's Thesis is brought to you for free and open access by the Retailing and Tourism Management at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Retailing and Tourism Management by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • Dress Code for Dance & Yoga
    Dress Code for Dance & Yoga *All Student’s hair should be tied back and out of the face for all movement classes. Workshops Moving with Parent & Tot Bring yourself and your child in something you can easily move in. We will be dancing, rolling and sliding and jumping on and off the floor. Dancers will dance barefoot. Beginning/Intermediate Ballet Dancers may wear leotards and convertible tights or leggings. Hair should be up and out of the face. A bun would be ideal. Ballet shoes are optional. Intro to Tap Dancers should wear comfortable and flexible clothes to move in. Tap shoes are required. Hair should be up and out of the face. Beginning Hip Hop Breakdancing 101 Hair should be up and out of the face. Dancers should wear breathable workout clothes, like leggings, warm-up pants and tank tops or t-shirts. Pants that cover the knee are recommended. Dancers may also wear sneakers that are clean on the bottom (not worn on the street) or a dance sneaker for support. Classes for Ages 3-5 Hip Hoppers Shake, Rattle & Roll Hair should be up and out of the face. Dancers should wear comfortable clothes to move in like leggings, cotton pants, t-shirts or tank tops. No slippers, zippers or buttons. Please have your child ready to move barefooted (NO FOOTED TIGHTS). Please keep accessories such as crowns, wands, wings, stuffed animals and ballet slippers at home. Dance Play Yoga & Dance Play Hair should be up and out of the face. Dancers may wear leotards, skirts, and/or footless tights, leggings or warmup pants.
    [Show full text]