FASHION DESIGNER COMPETENCIES DESIRED BY APPAREL MANUFACTURERS AS RELATED TO ACADEMIC AND VOCATIONAL FASHION DESIGN PROGRAMS by BARBARA JOAN FLAXMAN, B.S. IN PUB. ADM.
A THESIS IN CLOTHING AND TEXTILES
Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE IN HOME ECONOMICS Approved
Accepted
August, 1973 6;p
ACKNOWLEDGMENTS
I would like to express my appreciation to Dr. Eleanor Woodson for her direction of this thesis. Dr. Jane Coulter for her continued guidance, and Dr. Joan Kelly for her assistance and encouragement. The writer is especially indebted to the apparel manufacturers and schools who served as respondents in this study.
11 TABLE OF CONTENTS
ACKNOWLEDGMENTS ii LIST OF TABLES ^^ I. INTRODUCTION 1 Statement of the Problem 1 Purposes 2 Hypotheses 2 Scope and Limitations 3 Definition of Terms 4 II. REVIEW OF LITERATURE 6 Development of the Apparel Industry for Women 6 Parisian Dominance of Fashion Design . 9 The American Designer Comes of Age . . 10 The Apparel Industry Today and the Role of the Designer 13 III. PROCEDURE 16 The Research Instrument 16 The Research Sample 17 Collection of the Research Data. ... 19 Analysis of the Research Data 19 IV. ANALYSIS AND INTERPRETATION OF DATA .... 21 Descriptive Information of Research
Sample Obtained fro• a m Rating Scales . . 21 111 IV
Findings Related to Hypotheses 27
Hypothesis 1 27
Hypothesis II 43
Hypothesis III 46
V. SUMMARY AND CONCLUSIONS 52
Findings and Conclusions 55
Recommendations for Further Research. . 6 0
LIST OF REFERENCES 62
APPENDIXES 64
A. Cover Letter Accompanying Rating
Scale 65
B. Rating Scale Mailed to Manufacturers. . 66
C. Rating Scale Mailed to Schools 6 8
D. Follow-up Letter 70
E. Rating Scales - Women's Manufacturers in New York City 71 F. Rating Scales - Men's Manufacturers in New York City 76 G. Rating Scales - Children's Manufac turers in New York City 77
H. Rating Scales - Women's Manufacturers in Dallas 78 I. Rating Scales - Men's Manufacturers in Dallas 80 J. Rating Scales - Children's Manufac turers in Dallas 81
K. Rating Scales - Women's Manufacturers in Los Angeles 82 L. Rating Scales - Men's Manufacturers in Los Angeles 87 M. Rating Scales - Children's Manufac turers in Los Angeles 88 N. Rating Scales - All Schools 89 O. Manufacturers in New York City In cluded in Study 108 P. Manufacturers in Dallas Included in Study HO Q. Manufacturers in Los Angeles In cluded in Study 112 R. Four-Year Universities and Colleges Included in Study 114 S. Two-Year Junior Colleges Included in Study 117 T. Trade/Technical Schools Included in Study 12 0 U. Business Schools Included in Study . . 122 V. Additional Comments Provided by Three Kinds of Schools 123 W. Additional Comments Provided by Manufacturers of Women's Apparel . . . 131 LIST OF TABLES
Table Page 1. Rating Scales Mailed to Schools 22 2. Rating Scales Mailed to Apparel Manufacturers 23 3. Apparel Design Programs Offered by Schools 25 4. Designing and Production Engaged in by Apparel Manufacturers 26 5. Responses by Area of Ability by Manufacturers and Schools 29 6. Responses by Area of Ability by Manu facturers and Schools—Duncan's Multiple Range Test 30 7. Responses by Subtopics by Manufacturers and Schools 32 8. Responses by Subtopics by Manufacturers and Schools—Duncan's Multiple Range Test 36 9. Responses by Area of Ability for Schools and Three Types of Manufacturers .... 44 10. Responses by Area of Ability for Schools and Three Types of Manufacturers— Duncan's Multiple Range Test 47 11. Responses by Area of Ability by Location . 50 12. Responses by Area of Ability by Location— Duncan's Multiple Range Test 51 13. Rank Order of Ability Subtopics with High Ratings 56
VI CHAPTER I
INTRODUCTION
Frank Parson (15:453) said "the striving for beauty is legitimate and essential." Hence, fashion is essential in that it reflects the past, makes a statement about the present and helps to predict the future. The fashion de signer must have talent, training and experience. He strives for beauty. A successful designer can create a style that is beautiful as well as appealing to a particular clientele.
Statement of the Problem Fashion designer careers in the apparel industry are highly competitive. To secure and fulfill such a position, a person needs extensive preparation. There are three kinds of schools for the student of fashion design: (1) four-year universities and colleges, (2) two-year junior colleges, and (3) trade/technical and business schools. There is a ques tion as to which type affords the best preparation for em ployment. Therefore, the major problem of this study was to > compare the requirements for a degree or certificate with an emphasis in fashion design adhered to by the three types of schools cited and the requirements for employment as a fash ion designer as recognized by apparel manufacturers. Purposes The basic purposes underlying this study were as follows: 1. to compare requirements for employment as stated by apparel manufacturers with the requirements for a degree or certification with an emphasis in fashion design from the following types of institutions: a. four-year universities and colleges b. two-year junior colleges c. trade/technical and business schools 2. to compare the requirements for a degree or cer tification with an emphasis in fashion design in four-year universities and colleges, two-year junior colleges and trade/technical and business schools v/ith the requirements for employment as a fashion designer of: a. women's wear b. men's wear c. children's wear 3. to compare the requirements for employment as a fashion designer among apparel manufacturers in: a. New York City, New York b. Dallas, Texas c. Los Angeles, California Hypotheses The following null hypotheses were tested: 1. There is no significant difference between the requirements of apparel manufacturers for employment of fashion designers and the program currently afforded the student of fashion design enrolled in: a. four-year universities and colleges b- two-year junior colleges c. trade/technical and business schools 2. There is no significant difference between degree or certification requirements of four-year universities and colleges, two-year junior colleges, and trade/technical and business schools and competencies for employment as a fash ion designer of: a. women's wear b. men's wear c. children's wear 3. There is no significant difference in require ments of manufacturers for employment as a fashion designer in the following cities: a. New York City, New York b. Dallas, Texas c. Los Angeles, California Scope and Limitations The scope of this study was limited to responses from a rating scale mailed to 54 7 apparel manufacturers and 340 schools. The instrument was designed to elicit responses regarding academic and vocational design programs as well as designer competencies desired by apparel manufacturers. Nine major areas were identified as abilities of possible signifi cance to preparation of a fashion designer: illustration, design, patternmaking, draping, clothing construction, tex tiles; psychology, sociology and history; communications and work experience. Each of the nine areas was subdivided and 4 the respondent was instructed to circle a numerical rating for each ability according to the importance attributed to that ability.
Definitions of Terms The following terms and definitions were adhered to in the study: American Designer Award--an award established in 1937 and presented annually to the four American designers, "who have made a notable contribution to our lives." (4) American Fashion Critics Award, Coty, Inc.--an award established in 1943 and presented by the New York fashion editors and writers to the "designer whose work has been most distinctive and original," (4) Apparel and Related Products—a government classifi cation which includes men's and boy's suits and coats, men's and boy's furnishings, women's and misses' outerwear, women's and children's underwear, millinery, children's outerwear and fur goods. (19) Chambre Syndicale De La Couture Parisienne—an organi zation founded in 1868—the Chambre is a strong trade as sociation of Paris haute couture houses. Its principal function is to advise and represent all member establishments in matters of law, taxes and employment. (14) Drafting—a method of pattern making based on charts of specific body measurements. (1) Fashion Designer—an individual who can create and 5 prepare new styles in wearing apparel through sketching, flat pattern-making and draping. He is able to utilize color, line and texture to gain maximum public acceptance of his fashions, (20)
Flat Pattern—a method of designing in which a custom, basic pattern is modified to create a new design. (1) Grading—a method of increasing/decreasing a pattern from one size to the next, in which the change is gradual and proportional. (11) Level of Significance— a. significant = p/.05 b. highly significant = p/.Ol c. very highly significant = p/.OOl Neiman-Marcus Award to Designers—an award established in the field of fashion in 1938 and presented to the "cre ative designers who have made outstanding achievements." (4) Trade/Technical and Business Schools—educational institutions recognized by the Accrediting Commission for Business Schools and the National Association of Trade and Technical Schools, (16) CHAPTER II
REVIEW OF LITERATURE
A review of the literature revealed one research study similar in nature to the present study, A thesis by Batson (2) focused on an investigation of the status of cos tume design, methods of presentation of the concepts of cos tume design in Land Grant Universities, selected Art Schools and other universities. Using a questionnaire for data col lecting, Batson found that schools offering courses in cos tume design were not concentrated in any one geographical area. Rather, the schools were scattered widely throughout the United States. (2:35) Only one-fourth of the schools surveyed had programs aimed at preparing the student to en ter the field of professional design. (2:36) Hence, Batson asserted the need for further research focusing upon apparel manufacturers. (2:37)
Development of the Apparel Industry for Women According to an 1810 government report, two-thirds of all garments worn in the United States at that time were produced in the home. (7:1) The manufacture of women's cloth ing was reported for the first time in 1860, in the eighth 6 U. S. Census. (18:13) Until that time, there were only three ways in which American women could obtain clothing: (1) sewing for themselves in the home, (2) buying Paris orig inals or copies in a department store, and (3) having a dressmaker construct garments. (22)
Throughout most of the Nineteenth Century, housewives did most of the family clothing construction. Sewing was a traditional homemaking responsibility. Some of the more affluent families retained seamstresses as part of the house hold staff. When custom designed garments were desired, a traveling tailor was asked to come to the home. He was as sisted by household seamstresses. (7:1) There were some custom tailor shops run by master tailors. These shops pro duced garments which were hand crafted and very expensive. The name of a skilled cutter was often advertised. He was the one responsible for the design and fit of the garment. (7:90, 91) Fashionability was for the elite. Only the elite could afford Paris fashions or the luxury of hand-sewn cloth ing made to order by a personal seamstress or tailor. (22:2 75) Two significant developments which helped to shift the production of clothing from a domestic to a factory sys tem were the invention of the sewing machine and the develop ment of a commercial pattern by Ebenezer Butterick. (2 3:275) By 1860, suits and cloaks were manufactured in factories. Blouses were still made at home. (18:13) The Civil War cre ated a demand for rapid production of standardized clothing 8 and ready-to-wear came into being. After the Civil War, women's cloaks were no longer imported from France. "French tailoresses were employed by American businessmen to design women's garments, to supervise manufacturing . . . ." (23: 575) Because of widespread acceptance and ease of manufac ture, the shirtwaist was one of the first garments to be mass produced. Dresses were detailed and required intricate fitting, making them impractical for factory production.
(18:13) The ready-to-wear industry maintained a steady rate of growth, and by 1910, manufacturing of clothing had be come a major factory industry. (23:575) From 1908 to 1914, there was a movement in the United States to promote American fashions for American women. (13:180) The New York Times asserted that American designers were equal, and in some respects, superior to Paris designers To promote further the status of American designers, the newspaper sponsored a contest of American Fashions. (12) The result was a deluge of inquiries regarding how to become a fashion designer. On February 23, 1913, the Times re sponded with an article on fashion designer training. The article stated that as early as 19 03, preparation for a career in fashion design consisted of beginning as an errand girl or an apprentice and slowly learning each branch of the trade: Whatever she learned of the principles of line and color, form and proportion, of the psychology of dress and suiting of personality, of trade conditions, and of textiles was picked up, hit or miss, along the way.
The Times further indicated that currently there were fif teen to twenty schools where the skills and principles of the trade were taught. The student learned to drape in crin oline, to draft a pattern, and to cut and fit. Finishing techniques were stressed. Proficiency in handwork, includ ing embroidery, was required. Historic costume was studied. The student learned to operate power machines. A complete study of textiles, including principles of dyeing, historic fabrics, laboratory and microscopic tests to determine fiber content, was required. Art courses included principles of drawing, proportion, composition and color. Finally, after a serious study of trade economics and business organization, a professional dressmaker emerged. Better known schools offering this type of an educational program included the following: The School of Household Arts and Pratt Institute, considered to be the most comprehensive and practical; New York School of Applied Design for Women and the New York School of Fine and Applied Art, best suited for the costume illustrator; and The Hebrew Technical School for Girls which provided fourteen and fifteen-year-old girls with enough technical and dressmaking skills for work in the trades. (12)
Parisian Dominance of Fashion Design By the end of the first decade of the Twentieth Cen tury, American women were moving out of the home and into 10 business and other activities unheard of fifty years earlier Though Paris fashions were not suitable to this new Ameri can way of life, Parisian designs still remained predominant on the fashion scene. (17:15) Although manufacturers hired American trained designers to adapt and change the Paris fashions, designing was not their responsibility. (8:111) Reasons stated by Nystrom (13) concerning the long preemi nence of Paris as a fashion center were as follows:
1. Paris enjoys an ideal location as a great resort city and the center of an industrial area. 2. Each year, Paris attempts to produce many new designs which are specially designed and individually executed.
3. Historically, Paris is the style center of the world.
4. Parisian girls receive early training in hand work. They are taught to appreciate beauty and to have a respect for trained hands. 5. The population of Paris has always included a group of women who can afford and who dare to dress in new styles.
The American Designer Comes of Age World War I put a stop, temporarily, to the importa tion of Paris fashions, and American designers began to cre ate instead of to copy. There were some American designers who never really copied from the French. They had always 11 maintained individuality, but the competition and prestige of a Paris label were insurmountable. These few individual designers received little or no recognition until the war negated competition from France. At the end of the war, Paris regained its lofty position, and the American design ers withdrew again into the shadows. (15:12) Wanting to clarify the role of the designer in indus try and to establish the preparation necessary for that role, Richards (15) conducted a survey of the apparel industry, interviewing owner/designers and designers. His findings were as follows: 1. The greatest need was not for more designers but for more gifted and talented designers who could develop fine products. 2. Draping was the prevailing method used for de signing. Some draped in crinoline first, while others be gan with the original fabric. Sketching with pencil and color wash was a frequently used method of designing. Drap ing of the design usually followed. 3. While most designing was done within the house, some fashions were purchased from free-lance designers. Several design sources were used, notably French imports to which no changes were made; Paris originals modified for the American women; adapted European styles; and original Ameri can designs. 12 4. Most of the designers were trained through prac tical experience in the industry. Those who sketched had an art school background. Most of the designers were trained in the United States. 5. The general consensus was that art schools were not adequate for training a designer. A combination of art principles and dressmaking skills was needed. The follow ing courses were needed for an adequate training program: sewing, draping, cutting and fitting; fabric and historic costume; drawing the nude and draped figure; anatomy; and the principles of color. It was suggested that school ing and part-time work in a commercial establishment be coordinated and some of the responsibility for training be assumed by the manufacturer. A few believed that designers were born rather than made and that no formal training was necessary. Others stated that success in mastering the craft took years of painstaking application and dedication. Slowly, the reputation of the American designer be gan to grow. In March, 1932, Lord and Taylor advertised in the newspapers the availability of "American Designed Dresses" for sale. (5) Being a style center required the finest ideas and the finest workmanship. Believing America had all this. Lord and Taylor provided the final ingredient—publicity. (5) For decades, the garment industry had depended on Paris for inspiration. With the advent of World War II, 13 Paris could no longer supply the American fashion market. Stanley Marcus (10) declared, "The American Garment Industry is in a position to prove whether it can make a silk purse or whether it will be a sow's ear." It was time for Ameri can designers to venture forth on their own.
A preference for American designed clothing began to sweep the country. Several awards were created to honor those designers who were making a notable contribution to fashion. In 1937, the American Design Awards were estab lished, followed in 193 8 by the Neiman-Marcus Award to Designers. In 1943, the prestigous American Fashion Critics Award was established.
The Apparel Industry Today and the Role of the Designer Concurrent with the growth of the designer was the growth of the apparel industry. Ready-to-wear has become big business. Although most of the industry is made up of small independently owned and operated businesses, the re cent trend has been toward mergers. In 1965, the number of persons employed in apparel and related products industry was 1,087,687, with an earned annual payroll of $3,977,330.00 (19:34, 36) The apparel industry was "the nation's largest employer of women in manufacturing." (21:621) The four major areas of employment available in ap parel production are designing, cutting, sewing and finish ing. Differences in types, styles and grades of garments 14 necessitate employment of workers with various skills and educational backgrounds. (21:62) The general requirements of a fashion designer today are similar to those of fifty years ago. Some requirements stated by Nystrom (13), The Fashion Group (18), Lapick (9) and Warburton and Maxwell (22) are as follows: 1. The designer should be able to sketch. He should know the basic principles of design, proportion, balance, subordination and rhythm. An understanding of the elements of line, mass, color and texture are essential. He should also have a basic knowledge of anatomy. 2. He should be trained in draping, drafting, grading, flat patternmaking, cutting, fitting, sewing and tailoring. 3. The designer should be familiar with textiles and their properties, the history of costume, and the prin ciples of merchandising and selling. 4. Most important, a designer must have imagination, good taste, a genuine love for his work and an innate aesthet ic sense upon which to build. The demand for ready-made apparel is increasing. Hence, there are likely to be increasing opportunities for designers. (21:627) "There is an increasing tendency for apparel firms to recruit designers from colleges that offer specialized training in design." (21:627) Fashion design is a demanding craft that takes a dedicated and trained specialist. A good designer "puts 15 beauty, wit and elegance into fashion." (22) Fashion re flects the spirit of the times. It is in a constant state of change. When the current state becomes chaotic and ". . the fashion world lacks an arbiter, . . . sooner or later a gifted designer will produce a new look." (24:269-70) CHAPTER III
PROCEDURE
A rating scale, designed to compare academic and vocational fashion design programs with designer competen cies desired by apparel manufacturers, was developed by the researcher (Appendixes B and C). Nine major areas were identified as abilities of possible significance to the preparation of a fashion designer.
The Research Instrument The rating scale elicited responses in terms of de gree of importance attributed each item in the nine major areas. Specifically, manufacturers were asked to rate the items as to their importance in obtaining employment as a fashion designer. Schools were asked to rate items as to their importance in obtaining a degree or certificate with an emphasis in fashion design. The rating scale was in the closed form, eliciting responses in terms of suggested nu merical rating criteria. Provision was made to enable the respondent to write additional comments for each of the nine areas of abilities. Rating scales were color-coded to facilitate identi fication of respondents. Rating scales printed on white 16 17 paper were sent to the school sample, green paper was used for women's manufacturers, blue for men's manufacturers, and pink for children's manufacturers. Prior to use in the study, the rating scale was submitted to a panel of twenty-one judges, nine from the educational field and twelve judges from the manufacturing field. The names of the latter were submitted by the Ameri can Apparel Manufacturers Association. Panel members were asked to evaluate the scale as to clarity, relevance and comprehensiveness. Revisions were made in light of recom mendations received.
The Research Sample Two research groups were used in the study: (1) schools offering a fashion design program and (2) apparel manufacturers employing fashion designers. The schools were divided into three subgroups: four-year universities and colleges, two-year junior colleges, and trade/technical and business schools. All schools listed in the following pub lications under the following classifications were included: 1. The College Blue Book, 1969/70: Clothing and Textiles; Related Arts; Clothing and Textiles; Clothing De sign; Costiome Design; Fashion and Textiles; Fashion Design; Home Economics, Clothing and Textiles. 2. American Junior Colleges: Applied Arts, Apparel Design; Fashion Design; Clothing and Textiles. 18 3. The Blue Book of Occupational Education: Fash ion Design and Merchandising. 4. Lovejoy's Career and Vocational School Guide: Dressmaking; Fashion Design. 5. Vocational Career Monograph; Fashion Design. Lists were cross-checked to avoid duplication. A total of 340 schools was selected, which was the total population listed in the stated references and specified classifications. The names of apparel manufacturers employing fash ion designers were drawn from three metropolitan areas: New York City, New York; Dallas, Texas; and Los Angeles, Calif ornia. The 1971 Dallas and Los Angeles telephone directories and the 1972 New York City, Manhattan edition, telephone directory served as sources for names and addresses of ap parel manufacturers. The manufacturers were divided into three subgroups which included women's wear, men's wear and children's wear. The entire population from Dallas was used since the total number of apparel manufacturers was only ninety-nine, a total comprised of seventy-seven women's wear, twelve men's wear, and ten children's wear. A table of random numbers was used in selecting a sample of 200 women's manufacturers, twelve men's manufacturers and twelve children's manufacturers from both New York City and Los Angeles. A total of 547 ap parel manufacturers was selected. 19 Collection of the Research Data A total of 8 87 rating scales was mailed to the se lected research samples; 340 to the educational sample and 547 to the apparel manufacturing sample. A self-addressed, stamped envelope was included to facilitate returns. After a five week interval, a follow-up letter and a second copy of the rating scale were sent to those who had not responded. A third mailing was not deemed necessary.
The rating scales sent to the schools were addressed to the department chairman. Those scales sent to apparel manufacturers were sent to the personnel manager. Respond ents who failed to complete the entire rating scale most fre quently omitted the areas focusing upon two and three dimen sional design. Of the 887 rating scales mailed, 357 were returned, 217 from the schools and 140 from the manufacturers, Forty-two of the 217 rating scales returned by the schools, or 19 per cent, indicated that they offered fashion merchan dising; therefore, their responses were not applicable to this study. Two hundred and twenty rating scales, or 25 per cent of the entire sample, were completely answered, and therefore, were suitable for analysis. One hundred and four teen rating scales represented the three types of schools, and 106 represented the apparel manufacturers.
Analysis of the Research Data A computerized program for one-way analysis of 20 variance was applied to all the data. In addition, Duncan's New Multiple Range Test was applied to the data to determine which elements were statistically different. The .05 level of significance was considered an acceptable basis for re jection of a null hypothesis. Only data from those scales which were completely answered, a total of 220, were sub mitted to the computer. When more than one rating for a particular ability was circled, the highest number was re corded. General comments of schools and manufacturers are listed in Appendixes V and W. CHAPTER IV
ANALYSIS AND INTERPRETATION OF DATA
The analysis of the research data is presented in two categories: (1) descriptive information with respect to the research sample and (2) findings related to the hy potheses as tested by an analysis of variance and a multiple range test.
Descriptive Information of Research Sample Obtained From Rating Scales Eight hundred and eighty-seven rating scales were mailed, 357 of which were returned. Only those scales that were answered completely were deemed suitable for computer analysis. Responses to 220 rating scales comprised the re search data, representing 25 per cent of the entire sample mailed. Tables 1 and 2 present the numerical distribution of the sample. The information of Table 1 reveals that 34 0 rating scales were mailed to the three types of schools. Two hundred and seventeen scales were returned of which 114 were answered completely. Thirty-four per cent of the schools completed and returned the rating scales. The information in Table 2 reveals that 5 47 rating 21 22
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u fd m d) CO O >H U 0) dfi in o CO '-^ LO CN lO H "^ rH O rH rH O rH U < Xi II d) o s Xi O en rH CO ^ o g ro LO in ti C»P in O ro as td CO LO rH rH O CO CO 0) -H (U rH •d c C CN u o Id Xi •H II d) o u u CO S Xi CN CN o ffi EH 0) ti ^ g \ \ u EH CQ O r- ^ CO >^ CQ «JP rH 00 00 H Q CO LO LO CN to in W td d) I H n en o CN ro ro CN LO CN O 15 f^ o ^ g CN CN CN CN w EH CO u m < hi (d o CO CO dP CN CN 00 CN CN o 0) 0) in rH ro LO M -H en Jd 4J H CO LO I ^J O II H ^ Xi TABLE 4 DESIGNING AND PRODUCTION ENGAGED IN BY APPAREL MANUFACTURERS Type of New York Apparel City Dallas Los Angeles All Cities Production (N = 30) (N = 31) (N = 45) (N = 106) Number % Number % Number % Number % Haute Couture or Custom 5 17 13 4 9 10 9 Boutique 10 33 4 13 17 38 31 29 Specialty Store 23 77 26 84 34 76 83 78 Department Store 25 83 27 87 38 84 90 85 Chain Store 13 43 15 48 16 36 44 42 Discount Store 6 20 13 6 13 13 12 27 of the manufacturers produced apparel for department stores; 78 per cent produced apparel for specialty stores, and 42 per cent designed and produced apparel for chain stores. Production of haute couture or custom apparel was the smallest, engaged in by 9 per cent of the manufacturers. Table 4 further reflects the homogeneity of New York City, Dallas and Los Angeles as to the type of apparel production. All three cities show heavy concentration in the area of specialty and department store production with smaller amounts of production for boutique and chain stores. The only s\ib- stantial difference among the three cities was in the areas of couture and discount apparel production. New York City and Los Angeles showed considerably more manufacturers pro ducing these types of apparel than did Dallas. Findings Related to Hypotheses Three null hypotheses were formulated for testing on the basis of the findings of the study. The following information reflects the status of each hypothesis tested. Hypothesis I Hypothesis number one stated there was no signifi cant difference between the requirements of apparel manu facturers for employment of fashion designers and the pro gram currently afforded the student of fashion design enrolled in: 28 a. four-year universities and colleges b. two-year junior colleges c. trade/technical and business schools On the basis of an analysis of variance, a highly signifi cant difference (p/.OOl) was observed among four-year univer sities and colleges, two-year junior colleges, trade/techni cal and business schools, and apparel manufacturers as to the importance of all nine specific areas of abilities. Table 5 presents the data to support the above findings. The F-Ratio for the analysis of variance for all nine areas of abilities exceeded the p/.OOl level of significance. Further testing by Duncan's Multiple Range Test (p/.05) isolated the group(s) which were not homogeneous with the others in the group. This was done by ranking the means from smallest to largest. Table 6 presents the data for each of the nine areas of abilities showing which of the four groups being tested, apparel manufacturers, four-year universities and colleges, two-year junior colleges and trade/technical and business schools, were homogeneous and which were significantly different. Any two means not under scored by the same line are significantly different. Any two means underscored by the same line are homogeneous. (6:5) For all nine categories manufacturers consistently rated the importance of the abilities lower than the schools. Two-year junior colleges assigned higher mean scores to all but two categories, textiles and psychology, sociology and 29 o * * -K * •it •K •K * * * -H O 00 00 H "^ 00 VO 00 o in 4J 00 >5l« o O 00 «^ 00 in rH en u fd 0 • • (d vo in 00 ro CN cr» IT) o VD O •n (U ^ TABLE 6 RESPONSES BY AREA OF ABILITY BY MANUFACTURERS AND SCHOOLS--DUNCAN•S MULTIPLE RANGE TEST Area of Ability Manufacturers and Schools* ILLUSTRATION GROUPS 1 4 2 3 MEANS 1.68 2.02 2 .18 2.19 DESIGN GROUPS 1 4 2 3 MEANS 1. 76 2.17 2. 37 2.44 PATTERNMAKING GROUPS 1 2 4 3 MEANS 2.07 2.31 2.46 2.59 DRAPING GROUPS 1 4 2 3 MEANS 2.48 1.79 2.03 2.23 CLOTHING GROUPS 1 4 2 3 CONSTRUCTION MEANS 1. 88 2.35 2.40 2.45 TEXTILES GROUPS 1 4 3 2 MEANS 1. 78 2.22 2.31 2.45 PSYCHOLOGY/ SOCIOLOGY/ GROUPS 1 4 3 2 HISTORY MEANS 1.32 2.01 2. 15 2. 38 COMMUNICATIONS GROUPS 1 4 2 3 MEANS 1. 01 1.44 1.63 1. 83 WORK EXPERIENCE GROUPS 1 4 2 3 MEANS 1.75 2.02 2.24 2. 36 ALL ABILITIES GROUPS 1 4 2 3 MEANS 1.62 2.05 2. 22 2.28 *1 Manufacturers 3 Two-year Junior Colleges 2 Four-year Universities 4 Trade/Technical and and Colleges Business Schools Any two means not underscored by the same line are significantly different; any two means underscored by the same line are homogeneous. 31 history. Four-year universities and colleges identified the categories of textiles and psychology, sociology and history to be the two most important areas of abilities on the rating scale. The results of the analysis of variance (p/.OOl) and the multiple range test (p/.05) support the rejection of null hypothesis number one for all nine areas of abilities. To identify the differences among the four groups and to evaluate the importance of each area of the nine cate gories, the data derived from the rating scales were sub mitted to further analysis. The results of the analysis of variance and the multiple range test for all areas of abili ties listed on the rating scale are presented in Tables 7 and 8. Following is a summary of an interpretation of the data with regard to the importance of the areas of abilities within each of the nine major categories listed on the rat ing scale: 1. Illustration--Both the manufacturers and the schools indicated that a degree of competency in the area of workroom sketches was essential. Manufacturers indicated this area as the third most important area on the entire scale. While manufacturers rated freehand drawing second in this category, attributing it some importance, the schools were unanimous in rating fashion rendering second and free hand drawing third, rating both areas as important. All 32 o * •K * « * « •te * * * •K •H * * •ic •K •K * « * •p * * r*- LO 00 •^ O fd o CN 'St r^ r^ ^ (d rH O VD 1^ v£) in 00 r- r*- •^ VD • « I • • • • • • • • • fa CN 00 (T> o O ro rH in t-i VD O rH H t-i H rH rH en rH 00 r^ CN in »X) as o CN 00 td CO Q 00 as cr> as as a\ en r^ r» U ro vD VD a\ rH CN in in rH r^ LO CO u CO Q 00 VO 00 LO r^ 00 t-H r^ VD r- ^ Id ^ d) ^-x « • • • • • « • • • • • Q O er s a Q 00 (Ti 00 <^ O in cy» CO as cr> EH u —^ • • • • t • • • • • PQ ti V£» CO o o o o o o o o o D +j O CO u rH Id II MH s td CQ ti ti 'i;!' O CNJ in r^ rH ^ o as as ro ti Id t^ VD CO in •^a* ro 00 ^^ en LO CO fd 0) CN cq S S rH rH O CN CN CN CN CO O 0* CJ o CO d> •H cq •H U CO Xi 0) td Ol to Q rH fa Xi CT> C! d) fd -P &i ti •H Xi rH CJ MH fd -p 13 •ri U o fd 0 0 ti rH td 0 c ^ d) -p CJ •ri tys fa rH $H ^ Id •d di to O MH V +J MH >i 3 Q d) •H CO CO ro O CN VD CN in in ON in r» fd CO o ^ Q LO 00 in ro ro as r* VD en r» cr> ro CO u Q ^ r- r^ 00 CN VD VD ro VD 00 fd u 0) <-^ • • • d> o d> ro CO o o >H •H d) ^ o o o o o o 1 CJ rH II ;Q 0 3 T-i z CI r^ ^ • 73 CO CO O CN 00 in ro ro O t^ r*. rv) in CN d) d) d) Q in cys •^ r-» r* 00 en VD r^ VD 00 ti U •ri di • • • ti td -P o ^•N CO o o •ri CD •H H o o o o o o o +J >H CO rH LO CJ 1 M o II O u '-' ti o VD CQ « CN 00 CN ro ^ VD ro o O rH in VO LO < er s a Q O > fd 1 •d CO ^ i -H Id >i O 4J rH rH V o •H d^ ^ o 0) CI Q) d> rH -P ^ CO u •H fd fd •d u fd •H SH p CI H CJ CJ Id O O CO u -p fd rH o o o EH CJ 0 •ri •H di •H C ti -H •ri •ri to d) -ri CO CO 0) s o \ ^ IS MH Xi MH ^ CJ ^ < CO 'ti SH to d) g ti JH Xi o 1 1 N s CO o 0 o 0 U •H to cq o XI >1 o 0 'd s MH t-i •H 0) H CO cu 73 fd Id •p •H -P iJ u Id rH CJ CI c H rH rH CO > ffi d) iri ti 0) S d) S +J CI to H 4J fa fd Id 0 H cu td ti •H iH $H fd CO to •H •H O EH CJ CJ o < K fa yA o P K D D fa fa U X H < cq Cd J cq Q u EH 34 •te •IC •te o He He He He He He He He •te He He •H He He He He He He He He •te He -P * He He He He He He He He rH fd ^ VD r* CN in O CN O in rH 00 VD ^ o t^ o VO ro O o I • • • • • • • • • • • fa in as CO o t^ cr> CN CN 00 as t^ i-i en rH CN rH CN CN t-i rH as rH r^ rH as VD CN rH Id CO p in r^ r^ as 00 00 VD O 00 as rH 00 \ O CO ^ r* (y\ rH • m d) rH • o 0) -H CO o o o O O t-i o o t-i -d c ti ^ \0 rH O r- CN o rH in VD CN O CO ^ P 00 VD CO r^ "d CO to d) < er s a P 00 cr> 00 as 00 r^ r^ VD 00 r^ a\ 00 EH u ^-> • ti VD CO o o o o o o o o •p O o o o rH Id II MH S td ti •— CI in rH cr» ro r^ OJ ro 00 ro o rH en ti fd rH LO rH "^ LO rH (TI vD r> ^ ro Id d) • • • • lO • • S S rH rH rH rH rH O O O t-i rH CN 1 1 o o ti ti CO CO -d 'd (D 0) CJ 0 0 rH g MH 0 u u d) •H 3 0 •H d) 04 04 0 •P •P -p -P di ti 1 X to +3 CO u fd fd CJ CJ g CD H o •o • m td TABLE 8 RESPONSES BY SUBTOPICS BY MANUFACTURERS AND SCH00LS--DUNCAN'S MULTIPLE RANGE TEST Area of Ability M,anufacturer s and Schools* ILLUSTRATION Freehand Drawing GROUPS 1 2 3 4 MEANS 1. 74 1. 96 2. 02 2.10 Fashion Rendering GROUPS 1 4 3 2 MEANS 1.60 2.14 2.42 2.44 Life Drawing GROUPS 1 4 2 3 MEANS 0.82 1.48 1.68 1. 79 Workroom GROUPS 4 3 2 1 Sketches MEANS 2. 38 2. 51 2. 55 2. 62 DESIGN Two-Dimensional GROUPS 1 4 2 3 Design MEANS 1.47 1. 95 2.24 2. 30 Three-Dimensional GROUPS 1 4 3 2 Design MEANS 1. 31 2 .00 2. 12 2. 26 Coordination of GROUPS 1 4 2 3 Fabric Design MEANS 2.84 2.86 2 .96 2.98 Textile Design GROUPS 1 4 2 3 MEANS 1.40 1.86 2.02 2. 35 PATTERNMAKING Drafting of GROUPS 1 2 4 3 Flat Pattern MEANS 2. 39 2.40 2.62 2.67 Grading of GROUPS 1 2 4 3 Flat Pattern MEANS 1. 59 1.70 2.05 2. 28 Designing 2 Through Flat GROUPS 1 4 3 2. 82 Pattern MEANS 2.23 2.71 2.91 DRAPING 3 Half-Scale GROUPS 1 4 2 MEANS 0.83 1.24 1. 50 1.77 37 TABLE 8--Continued Area of Ability Manu facturers and Sch ools * Full-Scale , GROUPS 1 4 3 2 Standard Size MEANS 2. 31 2.43 2. 84 2. 86 Live Models GROUPS 1 4 2 3 MEANS 1. 28 1.71 1.74 2.10 CLOTHING CONSTRUCTION Dressmaking/ Tailoring GROUPS 1 4 2 3 Techniques MEANS 2. 32 2.67 2.76 2.84 Hand Work GROUPS 1 4 2 3 MEANS 1.25 2.10 2.12 2.19 Use of Domestic GROUPS 1 4 3 2 Machines MEANS 1. 31 1.95 2.00 2.40 -* * Use of Indus GROUPS 2 1 4 3 trial Machines MEANS 1. 72 1. 86 2.05 2.16 Fitting GROUPS 1 4 2 3 MEANS 2 . 65 2.71 2 .90 2.93 Finishing GROUPS 1 4 3 2 Techniques MEANS 1. 94 2.48 2. 54 2. 56 Cost Analysis GROUPS 1 2 3 4 MEANS 1. 79 2 .34 2.47 2.48 TEXTILES Intreduction-- Fiber, Fabric, GROUPS 14 3 2 Finish, Weave MEANS 2.00 2.76 2.81 2.84 14 3 2 Analysis and GROUPS Performance MEANS 2.14 2.43 2.44 2.46 Economics of Textile In- GROUPS 14 3 2 dustry MEANS 1.20 1.48 1.67 2.06 PSYCHOLOGY/SOCI OLOGY/HISTORY 3 2 History of GROUPS 1 4 1. 86 2. 10 Textiles MEANS 1.15 1. 67 38 TABLE 8--Continued Area of Ability Manufacturers and Schools* History of GROUPS 14 3 2 Costume MEANS 1. 51 2.57 2.61 2.76 History of Art GROUPS 14 3 2 MEANS 1.19 1.76 1.84 2.22 Cultural Basis GROUPS 14 3 2 of Clothing MEANS 1.43 2.05 2.28 2.44 COMMUNICATIONS Speech GROUPS 12 3 4 MEANS 1.5 7 2.00 2.14 2.33 Advertising Art GROUPS 14 2 3 MEANS 1.12 1.71 1.76 2.09 Mass Communica GROUPS 14 2 3 tions MEANS 0.93 1.10 1.74 1.93 Photography GROUPS 14 2 3 MEANS 0.68 0.86 1.40 1.65 Foreign GROUPS 14 2 3 Language MEANS 0.73 1.19 1.24 1.35 WORK EXPERIENCE Apparel Design Production-- GROUPS 4 3 2 1 Mass MEANS 2.19 2.42 2.44 2.50 Apparel Design Production-- GROUPS 14 2 3 Custom MEANS 1.41 1.91 2.22 2.37 Retail Exper- GROUPS 14 2 3 ience MEANS 1.33 1.95 2.06 2.28 *1 Apparel Manufacturers 2 Four-year Universities and Colleges 3 Two-year Junior Colleges 4 Trade/Technical and Business Schools 39 TABLE 8--Continued Mean Scores for Manufacturers: 3-Essential, required for employment. 2-Important, recommended for employment. 1-Of some importance, acceptable, but not required. 0-Unimportant, of no significance. Mean Scores for Schools: 3-Essential, required study in major field. 2-Important, recommended elective. 1-Of some importance, acceptable, but not required 0-Unimportant, of no significance. Any two means not underscored by the same line are significantly different; any two means underscored by the same line are homogeneous. **Due to unequal variances of the difference in the means, only those means underscored by solid line are homogeneous. 40 four groups assigned very little importance to life draw ing. 2. Design—All four groups rated the area of coor dination of fabric and design as being essential, indicating it to be the most important ability on the entire scale. While manufacturers indicated that two and three-dimensional design and textile design were areas of some importance, they did not require competencies in those areas. The schools varied to a slight degree in assigning a degree of importance to two and three-dimensional design and textile design, but for the most part, rated all three areas as important. 3. Patternmaking—The manufacturers rated drafting of flat pattern first in this category. While not requiring it as a competency for employment, they rated it as impor tant. All three types of schools assigned the highest pri ority to the area of designing through flat pattern, rating it as essential. Manufacturers and four-year universities and colleges were in agreement in regard to grading of flat pattern, rating it acceptable, while two-year junior colleges and trade/technical and business schools regarded the area of grading as important, recommending it as a desirable competency. 4. Draping—Although the groups varied in their ratings, all four groups assigned the most significance to 41 the area of full scale draping. Four-year universities and colleges and two-year junior colleges rated it as required study, while manufacturers and trade/technical and business schools only recommended it. All four groups were in agree ment in the area of draping on live models, indicating it to be of some importance. The three kinds of schools rated half-scale draping as acceptable, while manufacturers indi cated it to be of no significance. 5. Clothing Construction—All four groups rated the area of fitting as essential. Manufacturers, four-year uni versities and colleges, and two-year junior colleges rated it as the second most important area on the entire scale. Second in importance within this category was dressmaking/ tailoring techniques. The schools rated this area as es sential, while the-manufacturers only recommended it. Fin ishing techniques were rated third by the entire group, again the schools rat ed it slightly higher than did the manufacturers. Hand work, use of domestic machines, use of industrial machines, and cost analysis were all rated as of some importance for employment by the manufacturers, but were not required for employment. The schools recommended these areas and rated them as important. The major differ ence among the schools was in the area of use of domestic machines. Four-year universities and colleges rated this area as very important, while two-year junior colleges and 42 trade/technical and business schools indicated it to be mod erate in importance. Manufacturers indicated it to be of very little importance, assigning it the lowest rating in this category. The area of cost analysis was rated as very important by the three types of schools, whereas manufactur ers indicated it to be of moderate importance. 6. Textiles—Manufacturers rated this entire cate gory as important and recommended a degree of competency in this area. Also, the three types of schools rated this en tire category as important, indicating the areas of textile introduction and textile analysis and perfoinnance to be es sential. Two-year junior colleges indicated the area of introduction to textiles as the second most important area on the entire rating scale. Manufacturers and four-year universities and colleges were in agreement with regard to the area of economics of textiles, rating it as important. Two-year junior colleges and trade/technical and business schools rated economics of textiles moderate in importance. 7. Psychology/Sociology/History—Four-year univer sities rated this area very high and manufacturers rated this area low. History of costume was rated first by all groups, four-year universities and colleges listed it as a requirement and manufacturers rated it as an acceptable com petency . 8. Communications—This entire category was rated 43 very low by all groups. The only area of significance ap peared to be speech. 9. Work Experience—All four groups assigned a rat ing of very important to the area of work experience in apparel design mass-production. This was the only area.for which manufacturers assigned a higher rating than did the schools. The three types of schools were similar in their appraisal of retail experience and experience in apparel design custom- production, rating these as important. Manufacturers rated these areas acceptable, but not a necessary requirement. Additional comments provided by manufacturers and the three kinds of schools are shown in Appendixes V and W. Hypothesis II Hypothesis number two stated there was no signifi cant difference between degree or certification requirements of four-year universities and colleges, two-year junior col leges and trade/technical and business schools and compe tencies for employment as a fashion designer of: a. women's wear b. men's wear c. children's wear An analysis of variance revealed there was a very highly significant difference (p/.OOl) for all nine areas of abil ities. An interpretation of Table 9 supports this state ment. •ri -M 44 fd 55 * 75 * 84 * 38 * Cd . 45 * . 32 * .63 * .05 * • I 0 in in in CN CM rH rH rH 15 . 22 . rH 18 . 0 a\ rH VO P VO in VO .6 3 HJ CO .4 4 .5 7 • • • o CO CO 0 0 0 0 • (1) •H CU rH 0 0 0 0 ti ti r^ 'I" •sT ^ r* rH ^ in m p ^ "^ ^ ^ CO 'I' in m tq CO • • • • • • • • Pi (6 u H d) -^ •ri as ^ as en in rH in en I ti II CJ rH ^ in CM ^ en H CO P t O 3 rH S fd • • • • « • • ^ t-D O *>- Z CM CN CN CN CM CN CM iH < EH O CO CO CO yA 0) CD •^ r>i rH '51' CO CO a> VD o M -H tn P •^ "«;r VD in ro •«1' -<* in o fd 4J 0) « • • • • • • • • K 0) -H rH '-v CO 0 0 0 0 0 0 0 0 U >4 CQ rH O CO I M o in CO U d) U 11 CO r- r^ ro 0 in Cd Cd 00 f^ ti CJ rH ro CO 0 ^ '^ ro VD o w > z fd O -H tJ ^ fr4 o; CD CN (N CN CN D ^4 C C! CM CM rg >4 EH D fCJ EH U CO as H !< U ^q CM CQ (1) VD VD in en ^ 0 CO rH H D - Vj P in VD CO CO in VO in in iwj PQ Z ti ti CQ ri: ri: d) X> "^ CO O O < S EH CM 13 (d II O CM rH MH S fd r- rH cr> CO 00 0 0 CO o •H 13 -^ ti VD 00 rH VD 0 0 0 cr» < ,£j c: fd cq CO U (d CD CN CN OJ (d w < 04 s >4 CQ >i iH M CQ (U VD rH r>- in rH • VD VD in U P VD 0 t^ as CO r^ t^ 'i* to ti t cq tn -P ^ CO O rH CO - o t-^ z CJ «d II o 0) UH s td CN CO O CX) cr> VD o 0) P in in VD in VD 00 in CO U - ti ^ CO CJ -P o 0) u cy» e Hypothesis III Hypothesis number three stated there was no signifi cant difference in requirements of manufacturers for employ ment as a fashion designer in the following cities: a. New York City, New York b. Dallas, Texas c. Los Angeles, California 47 TABLE 10 RESPONSES BY AREA OF ABILITY FOR SCHOOLS AND THREE TYPES OF MANUFACTURERS-- DUNCAN'S MULTIPLE RANGE TEST Area of Ability Manufacturers and Schools* Illustration GROUPS 2 3 16 4 5 MEANS 1.43 1.67 1.70 2.02 2.18 2.19 -** Design GROUPS 13 2 6 4 5 MEANS 1.74 1.81 1.89 2.17 2.37 2.44 Patternmaking GROUPS 13 4 6 2 5 MEANS 2.03 2.19 2.31 2.46 2.48 2.59 ______** Draping GROUPS 2 13 6 4 5 MEANS 1.05 1.4 9 1.67 1.79 2.03 2.2 3 Clothing Con- GROUPS 13 2 6 4 5 struction MEANS 1.82 2.08 2.27 2.35 2.40 2.45 Textiles GROUPS 13 2 6 5 4 MEANS 1.73 2.00 2.10 2.22 2.31 2.45 Psychology/ Sociology/ GROUPS 3 2 16 5 4 History MEANS 1.00 1.14 1.36 2.01 2.15 2.38 Communica- GROUPS 3 12 6 4 5 tions MEANS 0.98 1.00 1.17 1.44 1.63 1.83 Work Exper- GROUPS 13 2 6 4 b ience MEANS 1.72 1.85 1^11_ 2.02_ 2.24 2.36^^ 48 TABLE 10--Continued Area of Ability Manufacturers and Schools* All Abilities GROUPS 13 2 6 4 5 MEANS 1.61 1.68 1.73 2.05 2.22 2.27 *1 Women's Manufacturers 2 Men's Manufacturers 3 Children's Manufacturers 4 Four-year Universities and Colleges 5 Two-year Junior Colleges 6 Trade/Technical and Business Schools Mean Scores for Manufacturers: 3-Essential, required for employment. 2-Important, recommended for employment. 1-Of some importance, acceptable, but not required. 0-Unimportant, of no significance. Mean Scores for Schools: 3-Essential, required study in major field. 2-Important, recommended elective. 1-Of some importance, acceptable, but not required 0-Unimportant, of no significance. Any two means not underscored by the same line are significantly different; any two means underscored by the same line are homogeneous. **Due to unequal variances of the difference in the means, only those means underscored by solid line are homogeneous. 49 The same procedures used with testing in assessing the pre ceding hypotheses were used in testing this hypothesis. The results of an analysis of variance comparing the requirements for employment in New York City, Dallas, and Los Angeles are presented in Table 11. The results revealed that the null hypothesis of no significant difference should be allowed to stand for eight of the areas of abilities— illustration, design, draping, clothing construction, tex tiles, psychology/sociology/history, communications and work experience. The area of the null hypothesis concerning pattern- making was rejected on the basis of an analysis of variance. The multiple range test supported this decision. For the area of patternmaking, Dallas and Los Angeles were found to be homogeneous; only New York City differed significantly Table 12 shows Dallas and Los Angeles rating patternmaking as important and recommending it for employment. New York City indicated competency in this area as acceptable, but not important enough to recommend it. 50 o •H •K +J VD VO r>- in rH ro CO ro r^ t>. fd •^ rH o ro in o ro in CM o 1 CM o r^ rH rH o O o o CL4 o • CN 'i^l' ro o rH CT> ro ro vD m CO Q in VD VD VO in in in CU r^ in ro H CO o o o o o o d) ^ o o o O 2 tys in O CJ '=1' H < II EH fd ri: CO — CJ CM CO ro cr» CM as VO TABLE 12 RESPONSES BY AREA OF ABILITY BY LOCATION' DUNCAN'S MULTIPLE RANGE TEST Area of Ability City* Illustration GROUPS 2 3 1 MEANS 1.59 1.62 1.85 Design GROUPS 3 1 2 MEANS 1.73 1.74 1.81 Patternmaking GROUPS 1 3 2 MEANS 1.69 2.18 2.28 Draping GROUPS 2 3 1 MEANS 1. 33 1.49 1. 60 Clothing GROUPS 3 1 2 Construction MEANS 1. 82 1. 90 1. 94 Textiles GROUPS 1 2 3 MEANS 1. 77 1. 79 1. 79 Psychology/Soci' GROUPS 2 3 1 ology/History MEANS 1.26 1.30 1.42 Communications GROUPS 2 3 1 MEANS 0.95 1.00 1.08 Work Experience GROUPS 1 2 3 MEANS 1.68 1.76 1. 78 All Abilities GROUPS 3 1 2 MEANS 1.61 1.62 1.64 *1 New York City Manufacturers 2 Dallas Manufacturers 3 Los Angeles Manufacturers Mean Scores for Manufacturers: 3-Essential, required for employment. 2-Important, recommended for employment. 1-Of some importance, acceptable, but not required 0-Unimportant, of no significance. CHAPTER V SUMMARY AND CONCLUSIONS Fashion designer careers in the apparel industry are highly competitive. To secure and fulfill such a posi tion, a person needs extensive preparation. The purpose of this study was to compare requirements for employment as a fashion designer as stated by apparel manufacturers with requirements of three types of schools for a degree or cer tificate with an emphasis in fashion design. Two samples served as research subjects. One sample was comprised of three kinds of schools offering preparation in fashion design. Schools listed under fashion design and related areas in the following publications made up the school sample: The College Blue Book, 1969/70, American Junior Colleges, The Blue Book of Occupational Education, Lovejoy's Career and Vocational School Guide, and Vocational Career Monograph. This sample included fifty four-year uni versities and colleges, forty-three two-year junior colleges, thirteen trade/technical schools, and eight business schools. The second sample was comprised of manufacturers of women's, men's, and children's apparel who employed fashion designers. 52 53 New York City, Dallas and Los Angeles were selected as the metropolitan areas to which rating scales were mailed. Cur rent telephone directories for each city served as sources for names and addresses of apparel manufacturers. This sample included ninety women's manufacturers, seven men's manufac turers, and nine children's manufacturers. Research data were obtained by means of a rating scale which was mailed to the selected sample. Rating scales sent to the schools were addressed to the department chair man. Those scales sent to apparel manufacturers were sent to the personnel manager. After a five week interval, a second copy of the research instrument was sent to those who had not responded. The rating scale, developed by the researcher, was designed to compare academic and vocational design programs with the designer competencies desired by apparel manufac turers. Nine major areas were identified as abilities of possible significance in the preparation of a fashion de signer: illustration, design, patternmaking, draping, cloth ing construction, textiles, psychology/sociology/history, communications and work experience. The rating scale was designed to elicit responses in terms of the degree of im portance attributed each item in the nine major areas. Man ufacturers were asked to rate the items as to importance in obtaining employment as a fashion designer, and schools were asked to rate items as to importance in obtaining a degree 54 or certificate with an emphasis in fashion design. Statistical treatment of the rating scale data in cluded one-way analysis of variance and Duncan's New Multiple Range Test. The .05 level of significance was considered an acceptable basis for the rejection of a null hypothesis. Only those rating scales which were answered completely were submitted to the computer for analysis. Respondents who failed to complete the entire rating scale most frequently omitted the areas focusing upon two and three-dimensional design. Of the 887 rating scales mailed 357 were returned, 217 from the schools and 140 from the manufacturers. Forty- two of the 217 rating scales returned by the schools, or 19 per cent, indicated that they offered fashion merchandising; therefore, their responses were not applicable to this study. Responses to 220 rating scales comprised the research data, representing 25 per cent of the entire sample. The findings showed that while most schools had pro grams in more than one design field, 65 per cent offered pro grams directed toward the field of mass-produced fashions. Custom design, the second largest field, was offered by 53 per cent of the schools. While manufacturers were usually engaged in production of apparel for more than one type of market, the largest concentration of manufacturers, 85 per cent, was engaged in producing apparel for department stores. Second in importance was specialty store apparel, produced by 78 per cent of the manufacturers. 55 Findings and Conclusions Findings and conclusions related to the study are as follows: 1. Requirements of apparel manufacturers for em ployment and requirements for a degree or certificate with an emphasis in fashion design from the three kinds of edu cational institutions were significantly different (p/.05), thereby implying that manufacturers and educational insti tutions are not in complete agreement. 2. Degree or certification requirements of four-year universities and colleges, two-year junior colleges, and trade/ technical and business schools and competencies required for employment as a fashion designer of women's wear, men's wear, and children's wear were noticeably different (p/.05). Therefore, academic preparation may need to be flexible enough to accommodate apparel design specialization. 3. Requirements of manufactures for employment as a fashion designer in New York City, Dallas and Los Angeles were found to be homogeneous with the exception of the area of patternmaking. Dallas and Los Angeles assigned this area a higher rating than did New York City. Hence, geographic location does not appear to be an important variable. 4. Additional findings were revealed through testing by Duncan's New Multiple Range Test. Based on these find ings, the researcher ranked the ten subtopics on the rating scale that received high rating by apparel manufacturers, 56 hs VD VD CM ti C30 VD VD •H • • Id CQ •p CM CN CM CM CM CM U CO Id CU -H CU CJ 13 C CJ \ Ol Id Xi •H u CJ CQ O CQ I I CU •H tn CU EH 1 •H CJ MH ti o CJ -P K cn en r-i O CJ cy» (y\ as CD 00 00 H •H % • ffi SH CO -p CM CM CM CM CM fd CU td K CU Cd \ EH >H (U 01 I er n 2 CU CJ CQ o I 01 4J I rH -H tn CU O o fd ta c; -p I td CJ ti O CO CO EH U >i -H CJ MH ty\ •H x: td Ol o fd H CV ti O cy> CO CO CO H CU CU •H • K:| >^ -H tn -P CM CM CM CNJ CM H fd -P CU Id CM CU -H rH cd >H CQ rH CJ Ol I SH O CU u ti CO P:4 SH CU u I I rH I CU •ri Ol (U ta O ti > o fd I fd o tn +J c: ti O •H 13 >i -H Cj MH tn tn u ti O d) CJ -P td ri O" c; c! -P O4 •H o o CJ CJ CJ CO 13 +J rH •H x: td e U -ri cq D Id •H O u •H O •H •H tn •H a tn 04 CO O ti Q rH H-> H U u CJ M •P O4 t-i CJ -P Ol ti CQ rH j::: •H ^ 4J 4J O •H U o O X} CO fd rH •H o -P CU •H CJ -H fd CU O ^ ti o •H td (U M ti CU CO s^ Id < CO O -P CM Q P4 Q CM H +J EH CU XJ rH Q EH EH Q -P CM 2 < Id Cd CQ in CM O C3^ CM u CJ CO VD VD LO en en d) •ri • u +J CN CM CM CM CM CN ti fd -p 05 o 1 1 tn fd SH CO CJ CJ CQ MH I CU CQ 0 •H 01 (U ti o td ta e CO O4 fd -H Ol ^ c d ti >l-H ti MH 01 0 CU X S -P CJ -P ti Id •H cr fd -p 04 •H O CJ Cj 0 Xi W U •ri fd a e SH -H •H O 13 •H tn •ri SH 0 CU d -P rH d) CO 0 ti s rH -P CJ SH H •P X +j M CJ 13 MH CM -P w rH Xi -P •H XI O O XJ CO -P U (U U CJ 0 td d) -H 0 Xi ti O -H fd (U •H 0 M 0 JQ Ol 00 CO en en c: IT) •H fd CO +J CM CM CN CM CM \ U CO fd i -H >i CU -H 0^ •H 0 CU CU -H g -P 04 XJ •H CO 0 XJ rH CO ^ •H O O ti CQ c: >i SH 0 •H >1 0 rH +J •P MH +J •H XJ +J rH ^ •P -p rH MH CQ O CQ CJ 0 CO Id U -H XI Ol •^ rH CJ VD VD IT) LO •H u CQ -P CM CM CM CN Id tU Id 4 •H -i-H CJ -P CJ >i CU •H D^ 0 CU •H •P O4 •ri td SH SH g ^ •H 0 XJ +J -H O -P T-H tu O ti CO CJ SH u ti rH 4J MH ti -p -P MH 4J •H X! M 4J O •H X5 fd +J CO O CQ C! 0 U CU U XI 3 SH MH fd •H O •H CU 0 M I ri: CO Q O O4 K U PM EH & CO I en Ol VD VD 10 '^ CO CO ti 10 LO •^ ^q o CJ ti g CQ 04 td •H O •H 13 >i-H >i CU •ri O* 0 CU X S •P CM CJ c; J-* O4 SH g XJ •H 0 x: cq CJ D fd •H O O ti CQ CJ u 0 (U ti rH 4-) +J MH -P •H x: M +j ^ 0 13 •H XJ CO O CQ CJ o u CU u CJ 0 •H O •H 0 SH X> 3 (U 0 M fd CO tn ro 0 SH C! en rH 0 CU •H CM SH -p CM CM CM ti td CM •p cd o CJ d) fd CU $H ta o MH I rH i-H 13 -P fd •P CU CJ CO •H XJ fd rH CO Vl •H O •H •H O CJ tn Ol •H >i o s rH MH SH CJ -P rH -P O4 rH tn ti td rH X Id SH •P X •H XI •ri o p U ti CU ti (U CJ (U XJ :3 CO ^1 fd Q CM iH < 04 H +J tH < CO (U XJ rH Q 4-> CM 58 u o •r-t • • td CU ^ (U g > tu CJ •ri H CJ ti -p XJ fd •rl u td 0 (U +J -H >1 rH O4 MH 13 CU (U -H ti 0 c: HJ 13 u tn CO 0) Id •H «f 13 CO CO 13 C ^ • rH CU cq abl e , i-J • • U +j •H CQ CO 0 04 MH < SH MH i CJ >i 0 +J CO -H o td 0 tu CJ SH CU +J 1H +J rH g 0 U ti O4 SH 04 0 +J 04 0 d) g 0 g CO 3 g CJ CQ CU O4 'C U XJ -H CO CO g MH CJ cq H 0 D ti 1 1 1 1 Id en CM H 0 CU S fd 59 four-year universities and colleges, two-year junior col leges, and trade/technical and business schools. This in formation is shown in Table 13. As indicated in Table 13: a. Manufacturers—Ability to coordinate fabric, and design was the most important competency desired by man ufacturers. In decending order, there were the categories of fitting, workroom sketches, work experience in mass- production, drafting of flat pattern, dressmaking/tailoring techniques, draping, designing through flat pattern, analy sis and performance of textiles and introduction to textiles. They rated work experience in mass-production higher than did any of the three groups of schools. b. Four-Year Universities and Colleges—Ability to coordinate fabric and design was the most important competency desired by four-year universities and colleges. Following in descending order were fitting, full scale draping, intro duction to textiles, designing through flat pattern, dress making/tailoring techniques, history of costume, finishing techniques, workroom sketches and work experience in mass- production. Four-year universities rated drafting of flat pattern as an area of little importance, while manufacturers, two-year junior colleges, and trade/technical and business schools rated it as an important area. c. Two-Year Junior Colleges—Ability to coordinate fabric and design was the most important competency desired by two-year junior colleges. Following in descending order 60 were fitting, designing through flat pattern, full scale draping, dressmaking/tailoring techniques, introduction to textiles, drafting of flat pattern, history of costume, finishing techniques, and workroom sketches. d. Trade/Technical and Business Schools—Ability to coordinate fabric and design was the most important compe tency desired by trade/technical and business schools. Sec ond in importance was introduction to textiles, followed in descending order by designing through flat pattern, dress making/tailoring techniques, drafting of flat pattern, his tory of costume, finishing techniques, cost analysis, work room sketches, and analysis and performance of textiles. An area of ability assigned high ratings by manufacturers, four-year universities and colleges, and two-year junior colleges, but not by trade/technical and business schools, was full scale draping. Cost analysis was rated very im portant by only trade/technical and business schools. Recommendations for Further Research The findings of this study appear to warrant the following recommendations: 1. The research instrument should be refined in order to a. be more comprehensible to manufacturers, b. reduce the likelihood of incomplete answers on the part of the respondents. 61 2. Similar studies might be made with regard to academic preparation for employment as a fashion designer for theatre/television/movies, and fashion communications. 3. Apparel manufacturers should be surveyed for the purpose of identifying opportunities for affording on- the-job work experience to supplement academic programs. 4. Schools preparing fashion designers for the various types of apparel manufacturing should make compara tive studies of curriculum offered and manufacturer's needs. 5. An instrument should be developed for evaluating the fashion designer competencies desired by manufacturers. 6. Further efforts should focus upon identifying and expanding avenues of communication between representa tives of industry and academic programs for fashion designers. 7. Additional research should be directed toward ascertaining indices of various types of apparel design and of the manufacture and distribution of men's wear and children's wear, LIST OF REFERENCES t^l. Bane, Allyne. Flat Pattern Design. New York: McGraw- Hill Book Company, 1972. 2. Batson, Joan Gail. "A Study of the Status of Costume Design and the Methods of Presentation of the Concepts of Costume Design in Land Grant Univer sities, Selected Art Schools and Other Selected Universities." Unpublished Master's Thesis, University of Tennessee, 19 64. •^3. Bigelow, Marybelle S. Fashion in History. Minneapolis, Minnesota: Burgess Publishing Company, 1970. 4. Chambers, Bernice G. Fashion Fundamentals. New York: Prentice-Hall, Inc., 1947. 5. "Dressmakers of the United States." Fortune Magazine, December, 1933. 6. Duncan, David B. "Multiple Range and Multiple F Tests." Biometrics Journal of the Biometric Society, II (1955), 1-41. 7. Feldman, Egal, Fit For Men: A Study of New York's Clothing Trade. Washington, D- C.: Public Affairs Press, 1960. 8. Kolodny, Rosalie. Fashion Design For Moderns. New York Fairchild Publications, Inc., 1968. 9. Lapick, Gaetan J. Scientific Designing of Women's Clothes. Fairchild Publications, Inc., 1949. 10. Marcus, H. Stanley. "America Is In Fashion." Fortune Magazine, November, 1940. 11. Margolis, Adele P. How To Make Clothes That Fit and Flatter. Garden City, New York: Doubleday & Company, Inc., 1969. 62 63 12. New York Times. "Thorough Training Now Offered to the American Girl Who Wants to Create Fashions." February 23,VIII, 1913. 13. Nystrom, Paul H. Economics of Fashion. New York: Ronald Press, 192 8. 14. Pickens, Mary Brooks, and Miller, Dora Loues. Dressmakers of France. The Who, How and Why of the French Couture. New York: Harper & Brothers, 1956. 15. Richards, Charles R. Art In Industry. Nev/ York: The MacMillan Company, 1929. 16. Russell, Max M., editorial director. The Blue Book of Occupational Education. CCM Information Corp., 19 71. 17. Stuart, Jessie Mildred. The American Fashion Industry Boston: Simmons College, 1951. 18. The Fashion Group. Your Future in the Fashion World. New York: Richard Rosens Press, 1960. 19. U. S. Bureau of the Census. Annual Survey of Manu facturers : 1964 and 1965. Washington, D. C.: Government Printing Office, 196 8. 20. U. S. Department of Labor. Dictionary of Occupational Titles. Vol. II. Washington, D. C.: Government Printing Office, 1965. 21. U. S. Department of Labor. Occupational Outlook Hand book. 1972-73 edition. Washington, D. C.: U. S. Government Printing Office, 19 72. 22. Warburton, Gertrude, and Maxwell, Jane. Fashion For A Living. New York: McGraw-Hill Book Co., Inc., 1939. 23. Wolman, Leo. "Garment Industries." Encyclopaedia of Social Sciences. 2d ed. Vol. III. 24. Worship, Richard L. "Fashion World." Editorial Research Reports, April, 1971, pp. 269-86. APPENDIXES 64 APPENDIX A: COVER LETTER ACCOMPANYING RATING SCALE Texas Tech University College of Home Economics P.O. Box 4170 Lubbock. Texas 79409 October 16, 1972 Will you please give some of your valuable time and thought in rating the enclosed scale, the results of which will be used to guide students in preparation for a career in fashion design. The rating scale has been designedto compare academic and vocational design programs with the designer conripetencies desired by apparel inanuf actur ers. In developing this scale, nine major areas have been identified as abilities of possible significance to the preparation of a fashion de signer. Each area is subdivided so that the degree of innportance you place on subtopics may be indicated. I appreciate the time and consideration you will give to responding to the enclosed questionnaire. Please return the completed form in the enclosed self-addressed envelope by November 6, 1972. Theuik you. Sincerely, Barbara Flaxman Dr. Eleanor Woodson, Chairman, Thesis Committee 65 APPENDIX B: RATING SCALE MAILED TO MANUFACTURERS PREPARATION FOR A CAREER IN FASHION DESIGN: A RATING SCALE Please read the following rating criteria carefully. 3 —ESSENTIAL. REQUIRED FOR EMPLOYMENT 2 —IMPORTANT. RECOMMENDED FOR EMPLOYMENT. 1 —OF SOME IMPORTANCE. ACCEPTABLE, BUT NOT REQUIRED. 0 —UNIMPORTANT. OF NO SIGNIFICANCE. Circle the number that represents the degree of importance you attribute a particular ability in the categories listed below, for employment as a fashion designer. If you have additional requirements or comments, please specify in the space provided. IMPORTANCE I ILLUSTRATION OF ABILITY COMMENTS FREEHAND DRAWING 3 2 10 FASHION RENDERING 3 2 10 LIFE DRAWING 3 2 10 WORKROOM SKETCHES 3 2 10 IMPORTANCE II DESIGN OF ABILITY COMMENTS TVyO-DIMENSIONAL DESIGN 3 2 10 THREE-DIMENSIONAL DESIGN 3 2 10 COORDINATION OF FABRIC & DESIGN 3 2 10 TEXTILE DESIGN 3 2 10 IMPORTANCE III PATTERN MAKING OF ABILITY COMMENTS DRAFTING OF FLAT PATTERN 3 2 10 GRADING OF FLAT PATTERN 3 2 10 DESIGNING THROUGH FLAT PATTERN 3 2 10 IMPORTANCE IV DRAPING OF ABILITY COMMENTS HALF-SCALE 3 2 10 FULL SCALE, STANDARD SIZE 3 2 10 LIVE MODELS 3 2 10 IMPORTANCE COMMENTS V CLOTHING CONSTRUCTION OF ABILITY DRESSMAKING/TAILORING TECHNIQUES 3 2 0 HAND WORK 3 2 0 USE OF DOMESTIC MACHINES 3 2 0 USE OF INDUSTRIAL MACHINES 3 2 0 FITTING 3 2 0 FINISHING TECHNIQUES 3 2 0 COST ANALYSIS 3 2 0 66 67 IMPORTANCE VI TEXTILES OF ABILITY COMMENTS INTRODUCTION-FIBER. FABRIC, FINISH, WEAVE 3 2 10 ANALYSIS AND PERFORMANCE 3 2 10 ECONOMICS OF TEXTILE INDUSTRY 3 2 10 IMPORTANCE VII PSYCHOLOGY, SOCIOLOGY, & HISTORY OF ABILITY COMMENTS HISTORY OF TEXTILES 3 2 10 HISTORY OF COSTUME 3 2 10 HISTORY OF ART 3 2 10 CULTURAL BASIS OF CLOTHING 3 2 10 IMPORTANCE VIII COMMUNICATIONS OF ABILITY COMMENTS SPEECH 3 2 10 ADVERTISING ART 3 2 10 MASS COMMUNICATIONS 3 2 10 PHOTOGRAPHY 3 2 10 FOREIGN LANGUAGE 3 2 10 IMPORTANCE IX WORK EXPERIENCE OF ABILITY COMMENTS APPAREL DESIGN PRODUCTION-MASS 3 2 10 APPAREL DESIGN PRODUCTION-CUSTOM 3 2 10 RETAIL EXPERIENCE 3 2 10 PLEASE CHECK THE APPROPRIATE ANSV/ER(S). YOUR COMPANY IS CONCERNED WITH THE DESIGNING AND PRODUCTION OF CLOTHING FOR: HAUTE COUTURE OR CUSTOM BOUTIQUE SPECIALTY STORE DEPARTMENT STORE CHAIN STORE DISCOUNT STORE OTHER, PLEASE SPECIFY NAME AND LOCATION OF YOUR COMPANY YOUR NAME AND POSITION THANK YOU FOR YOUR COOPERATION. APPENDIX C: RATING SCALE MAILED TO SCHOOLS PREPARATION FOR A CAREER IN FASHION DESIGN: A RATING SCALE Please read the following rating criteria carefully. 3-ESSENTIAL. REQUIRED STUDY IN MAJOR FIELD 2 —IMPORTANT. RECOMMENDED ELECTIVE. 1 -OF SOME IMPORTANCE. ACCEPTABLE BUT NOT REQUIRED 0 —UNIMPORTANT. OF NO SIGNIFICANCE. Circle the number that represents the degree of importance you attribute a particular area of learning in the categories listed below, for a degree in Fashion Design. IMPORTANCE I ILLUSTRATION OF ABILITY COMMENTS FREEHAND DRAWING 3 2 1 0 FASHION RENDERING 3 2 1 0 LIFE DRAWING 3 2 1 0 WORKROOM SKETCHES 3 2 1 0 IMPORTANCE II DESIGN OF ABILITY COMMENTS TWO-DIMENSIONAL DESIGN 3 2 1 0 THREE-DIMENSIONAL DESIGN 3 2 1 0 COORDINATION OF FABRIC & DESIGN 3 2 1 0 TEXTILE DESIGN 3 2 1 0 IMPORTANCE III PATTERN MAKING OF ABILITY COMMENTS DRAFTING OF FLAT PATTERN 3 2 1 0 GRADING OF FLAT PATTERN 3 2 1 0 DESIGNING THROUGH FLAT PATTERN 3 2 1 0 IMPORTANCE IV DRAPING OF ABILITY COMMENTS HALF-SCALE 3 2 1 0 FULL SCALE, STANDARD SIZE 3 2 1 0 LIVE MODELS 3 2 1 0 IMPORTANCE V CLOTHING CONSTRUCTION OF ABILITY COMMENTS DRESSMAKING/TAILORING TECHNIQUES 3 2 1 0 HAND WORK 3 2 1 0 USE OF DOMESTIC MACHINES 3 2 1 0 USE OF INDUSTRIAL MACHINES 3 2 1 0 FITTING 3 2 1 0 FINISHING TECHNIQUES 3 2 1 0 COST ANALYSIS 3 2 1 0 68 APPENDIX C: RATING SCALE MAILED TO SCHOOLS PREPARATION FOR A CAREER IN FASHION DESIGN: A RATING SCALE Please read the following rating criteria carefully. 3 —ESSENTIAL, REQUIRED STUDY IN MAJOR FIELD. 2 —IMPORTANT. RECOMMENDED ELECTIVE. 1 —OF SOME IMPORTANCE. ACCEPTABLE BUT NOT REQUIRED. 0 —UNIMPORTANT. OF NO SIGNIFICANCE. Circle the number that represents the degree of importance you attribute a particular area of learning in the categories listed below, for a degree in Fashion Design. IMPORTANCE I ILLUSTRATION OF ABILITY COMMENTS FREEHAND DRAWING 3 2 10 FASHION RENDERING 3 2 10 LIFE DRAWING 3 2 10 WORKROOM SKETCHES 3 2 10 IMPORTANCE 11 DESIGN OF ABILITY COMMENTS TWO-DIMENSIONAL DESIGN 3 2 10 THREE-DIMENSIONAL DESIGN 3 2 10 COORDINATION OF FABRIC & DESIGN 3 2 10 TEXTILE DESIGN 3 2 10 IMPORTANCE III PATTERN MAKING OF ABILITY COMMENTS DRAFTING OF FLAT PATTERN 3 2 10 GRADING OF FLAT PATTERN 3 2 10 DESIGNING THROUGH FLAT PATTERN 3 2 10 IMPORTANCE IV DRAPING OF ABILITY COMMENTS HALF-SCALE 3 2 10 FULL SCALE. STANDARD SIZE 3 2 10 LIVE MODELS 3 2 10 IMPORTANCE V CLOTHING CONSTRUCTION OF ABILITY COMMENTS DRESSMAKING/TAILORING TECHNIQUES 3 2 10 HAND WORK 3 2 10 USE OF DOMESTIC MACHINES 3 2 10 USE OF INDUSTRIAL MACHINES 3 2 10 FITTING 3 2 10 FINISHING TECHNIQUES 3 2 10 COST ANALYSIS 3 2 10 68 . 69 IMPORTANCE VI TEXTILES OF ABILITY COMMENTS INTRODUCTION-FIBER. FABRIC, FINISH, WEAVE 3 2 10 ANALYSIS AND PERFORMANCE 3 2 10 ECONOMICS OF TEXTILE INDUSTRY 3 2 10 IMPORTANCE VII PSYCHOLOGY, SOCIOLOGY, & HISTORY OF ABILITY COMMENTS HISTORY OF TEXTILES 3 2 10 HISTORY OF COSTUME 3 2 10 HISTORY OF ART 3 2 10 CULTURAL BASIS OF CLOTHING 3 2 10 IMPORTANCE VIII COMMUNICATIONS OF ABILITY COMMENTS SPEECH 3 2 10 ADVERTISING ART 3 2 10 MASS COMMUNICATIONS 3 2 10 PHOTOGRAPHY 3 2 10 FOREIGN LANGUAGE 3 2 10 IMPORTANCE IX WORK EXPERIENCE OF ABILITY COMMENTS APPAREL DESIGN PRODUCTION-MASS 3 2 10 APPAREL DESIGN PRODUCTION-CUSTOM 3 2 10 RETAIL EXPERIENCE 3 2 10 PLEASE CHECK THE APPROPRIATE ANSWER(S). YOUR PROGRAM IS MAINLY DIRECTED FOR THE FASHION DESIGN STUDENT WHO WISHES TO ENTER THE FIELD OF: CUSTOM DESIGN MASS-PRODUCED FASHIONS DESIGN FOR THEATRE/TELEVISION/MOVIES FASHION COMMUNICATIONS DESIGN FOR PERSONAL USE TEACHING OTHER, PLEASE SPECIFY NAME AND LOCATION OF INSTITUTION YOUR NAME AND POSITION IN WHICH COLLEGE IS YOUR FASHION DESIGN PROGRAM OFFERED DEGREE GRANTED CERTIFICATE GRANTED THANK YOU FOR YOUR COOPERATION. APPENDIX D: FOLLOW-UP LETTER As of yet, a completed fashion d.2sign rating scale has not been received from you. Perhaps you have overlooked responding or your completed scale was lost in the mail. Your ratings are important to this study. Realizing th.at you are very busy the date for responding has been moved to DECEMBER 11, 1972. A duplicate questionnaire and cover letter are enclosed for your convenience. Please mail as early as possible to avoid the Christmas rush. Thank you. 70 APPENDIX E: RATING SCALES - WOMEN'S MANUFACTURERS IN NEW YORK CITY (N=200) Rating Scales Reason for Omission Name of Manufacturer. Responded From Study A & A Dress, Inc. No A & A Dress Manufacturing Co- No Aabco Fashions, Inc. No Addenda No Adele Simpson, Inc. No AFRO Dress Corporation No A. J. Scheierson & Son, Inc. No Alison Syres, Inc. No Alper Schwartz Co., Inc. No Alzara Dresses, Inc. No American Golfer, Inc. Yes Amin Beder Co. No Andrew St. John No Anne Fogarty, Inc. No Anne Klein & Co. Yes Annetta Dresses, Inc. Yes Missing Data A'Paree, Inc. No Apollo Knitting Mills No Arpeja-California, Inc. No Not Delivered Arthur Weber & Co., Inc. No Audrey Lee Classics, Inc. No Balatem Corporation No Not Delivered Ben Alterson, Inc. Yes Missing Data Ben Farber, Corporation No Berg & Sahlman No Berkshire Apparel Corporation Yes Bettina International, Inc. No Beverly-Hills Fashions No Bieff Limited (Genesis Designs, Ltd. ) Yes Bill Blass Ltd. Yes Bobbie Brooks, Inc. No Bon Ton Dress Manufacturers, Inc. No C & C Skirt & Dress Co. No Caresse Fashions, Inc. No Casandra Fashions, Inc. No Ceil Chapman, Inc. No Not Delivered Charles Malcolm, Inc. No Charles Mathew, Inc. No Charmante Creations, Inc. No Chester Weinberg, Ltd. Yes Missing Data Christian Dior-New York, Inc. No 71 72 APPENDIX E—Continued Rating Scales Reason for Omission Name of Manufacturer Responded From Study Cindy Carol Casuals, Inc. No Cintura Knits No Cleopatra Broumand Boutiques, Inc No Cohen Brothers Dress Corporation Yes Colli Gowns-Truppi Fashions Corp. No Crossroads Dress Co., Inc. No Dalil Fashions, Inc. No Dandy Miss, Inc. No Darosan Dress Company No Not Delivered David Crystal, Inc. No David Gutstein No Not Delivered David H. Smith, Inc. Yes David Jones, Inc. No David Warren, Inc. No di Sant Angelo, Inc. Yes Don Sophisticates, Inc. No Donald Brooks No Donle No Donlevy's Inc. No Dotti Originals, Inc. No Edith Flagg, Inc. No El Men Dress Shop No Not Delivered Elco Fashions No Elge Bove Ltd. No Elite Formals Company No Elon Dress Company No Embassy Bridal, Inc. No Ena Dress Corporation No Fashions by Wendy No Fildor Dress Company No Fow Row Ltd. No Frank Merigone No Gay Gibson, Inc. No Geoffrey Beene, Inc. Yes Gold Sing Sportswear No Gothic Dress Co., Inc. No Gottlieb-Armco, Inc. No Grandardo Dress Company No Gregory Cicola No Hans Block Yes Not Manufacturer 73 APPENDIX E—Continued Rating Scales Reason for Omission Name of Manufacturer. Responded From Study Happenstance, Inc. No Henri-Lark Ltd. No Not Delivered Holiday Originals, Inc. No House of Bloom, Inc. Yes Howard B. Wolf, Inc. Yes H. Penelope Co., Inc. No Indelicate Manufacturing Co., Inc. No Ira Curtis, Inc. No Jes Fashions Ltd. No J G Couture, Ltd. No James Sterling Paper Fashions, Ltd. No Not Delivered Jay-Cee Dress Co., Inc. No Jaymont Fashions, Inc. No Jean Lutece, Ltd. No Jenny Wren, Inc. No Jeri Juniors, Inc. No Jerry Goldberg, Inc. No Jerry Silverman (Shannon Rodgers) Yes Jeunesse No Jimini Fashions, Inc. No Jimmae Manufacturing Co., Inc. Yes Joan Dell, Inc. No Joan Leslie Fashions, Inc. No No John D. Bonito No Jonathan Logan, Inc. No Jones of New York No Jon Weston, Inc. No Joseph Gowns, Inc. No Joseph Stein, Inc. No J. R. McMullen Co., Inc. No Joy Dawn Fashions No Jule-Wyn Dresses, Inc. No Junior Spice, Inc. Yes Kayser Roth Yes Kenrose Manufacturing Company No Not Delivered Kono No Not Delivered Korach Brothers Co., Inc. No Krazy Kat Fashions, Inc. Yes Lady Blanche, Inc. No Lady Richard Classics, Inc. No Larry Aldrich, Inc. 74 APPENDIX E—Continued Rating Scales Reason for Omission Name of Manufacturer Responded From Study Latin Dress No Not Delivered Latino Dress Company No Lee Jordan, Inc. Yes Missing Data Leone Frank, Inc. No Leone Raffaele No Letrappeur, Inc. No Not Delivered Levy Brothers Frocks, Inc. No Lilly Pulitzer, Inc. No Lourdes Dress Corporation No M & I Dress Co., Inc. No Maddy Dress Co., Inc. No Maison Petite, Inc. No Malcolm Starr, Inc. No Mannequin Originals, Inc. No Marco Dress Company No Mardi Gras Dresses, Inc. Yes Missing Data Marek, Inc. No Margey Manufacturing Company No Not Delivered Marietta Dress Company No Marita Ltd. No Not Delivered Marstan Dress Company No Martin Ryder & Associates No Marvin M. Reben Yes Max Kane Dress Company No Max L. Bitterman No Melange, Inc. No Miss Janlin, Inc. No Miss Stacy, Inc. No Miss Wendy, Inc. No Mollie Parnis No Murry Bernfeld No No Murray Hamburger & Company No Murray Levy No Murray Oliphant, Inc. No Myra Dress Co., Inc. No Nassau Miss, Inc. No Nathan Kurtz & Son No Not Delivered New Dimension No Nina Gowns Company No Norman Norell, Inc. Yes Paganne Ltd. Yes Missing Data Pat Sandler 75 APPENDIX E—Continued Reason for Omission Name of Manufacturer Responded From Study Paula Dean Originals No Pershing Casuals, Inc. No Pierre Cardin Company No Pio Suit Company No Playgirl Industries No Points East Sportswear, Inc. No Posh, Inc. No R. & M. Kaufmann, Inc. Yes R. L. Spencer, Inc. No R. S. Dress Company No Ralph Stern No Rich Miss, Inc. No Robert J. Briar, Jr. Yes Robert Leonard Corporation No Roberto Lanza Creations, Inc No Not Delivered Ruffolo Brothers, Inc. No Sam Friedlander, Inc. No S. Howard Hirsh, Inc. No Semont, Inc. No Serbin. Inc. No Shaso Ltd. No Sherwood Fashions, Inc. No Smith & Jones No Stan Herman Yes The Jaeger Company No The Now Generation Yes Tijan Ltd. Yes Timandra, Inc. No Toby Tanner Yes Trigere, Inc. No Uffner, Uffner & Gamsu No Venessa Frocks No Van Wyck Manufacturing, Inc. No Vivaudou Frocks No Not Delivered Whirlaway Frocks, Inc. No Wolfson & Greenbaum, Inc. No APPENDIX F: RATING SCALES - MEN'S MANUFACTURERS IN NEW YORK CITY (N=12) Rating Scales Reason for Omission Name of Manufacturer Responded From Study After Six, Inc. No Baker Clothes, Inc. No Corbin, Ltd. No Harry L. Moskowitz No Hart, Shaffner St Marx No Hickey-Freeman Co., Inc. Yes Louis Roth, Company No McGregor-Doniger, Inc. Yes Milton Bergson No Petrocilli Clothes, Inc Yes Treiber Brothers, Inc. No Young Master No 76 APPENDIX G: RATING SCALES - CHILDREN'S MANUFACTURERS IN NEW YORK CITY (N=12) Rating Scales Reason for Omission Name of Manufacturer Responded From Study All Time Togs, Inc. No Betti Terrell, Division of Johnston No Danskin, Inc Yes Gay Togs Yes Jack & Jill Togs, Inc. Yes Kate Greenaway Industries, Inc. No Little Fairy Frocks, Inc. No Murray Schiffman Company No Not Delivered Philip Bergman No Ruth Originals Corporation No Sach & Pinkus No Scuttlebutt No 77 APPENDIX H: RATING SCALES - WOMEN'S MANUFACTURERS IN DALLAS (N=77) Rating Scales Reason for Omission Name of Manufacturer Responded From Study Alice Martin Yes Ann Murry, Inc. Yes Bogart Industries, Inc. No Bonita Fashions, Inc. No Brooks Uniform Company Yes Missing Data Capri Manufacturing Company of Texas, Inc. Yes Center Stage, Inc. No Clare Dress Company of Texas, Inc. No Clifton Wilhite Company Yes Cupaioli Manufacturing Company No Dallas Sportswear Co., Inc. No Diaper Jeans, Inc. Yes Missing Data Diversified Corporate Industries, Inc.Yes Importers Donovan-Galvani of Dallas Yes Edgefield Fashions No Entree, Inc. Yes Out-of-business Facho Incorporated of Dallas No Fashions of Texas, Inc. No Fem Fonti, Inc. (Lasso Western Wear) Yes Missing Data First Lady of Dallas Manufactur ing Company No Flaire Fashions of Dallas, Inc. No Fortune Designs, Inc. No Gayle Fashions No Hensley-Russell, Inc. (Joni J) Yes Henson-Kickernick, Inc. (Marja) Yes Herman Marcus, Inc. Yes I.B.J. Corporation Yes Missing Data Ike Clark of Texas No Isaacson-Carrico Manufacturing Co- Yes It Fashions for Juniors No Jeanne Manufacturing Company No Jennifer of Dallas, Inc. Yes Jerell of Texas, Inc. No J'Nelle-Cater, Inc. No Jo Hardin Originals No Johnston, Inc. Yes Jo Lester No Jones of Dallas Manufacturing Co- No 78 79 APPENDIX H—Continued Rating Scales Reason for Omission Name of Manufacturer Responded From Study Just, Inc. No Kingston Manufacturing Company Yes Kohen-Ligon-Folz Yes Missing Data L & L Manufacturing Company Yes Laura of Dallas, Inc. No Les Wilk, Inc. Yes Lois Young Manufacturing Company No Lone Star Fashions No Lorch-Westway Corporation Yes Missing Data Manufacturers Sample Outlet No Maryon Van Gilder & Associates No McKell's Sportswear, Inc. No Mr. Eddie, Inc. No Mr. Fine Yes Mr. Jack, Inc. Yes Mr. Mench of Dallas Yes Nardis of Dallas No Parkland of Dallas, Inc. (Justin McCarty Division) No Patty's of Texas, Inc. Yes Missing Data Piccola Petites No Prophecy Corporation Yes Randazzo-Johnston. Inc. Yes Missing Data R. L. Davis Manufacturing Co., Inc. Yes Ronelle, Inc. Yes Missing Data Royal Park Fashions Yes Russell-Newman Manufacturing Co., Inc .Yes Shelli Styles, Ltd. No Sidney Lynn, Inc. No No Southwestern Apparel, Inc. No Not Delivered Sportset, Inc. Yes Stockton Manufacturing Co., Inc. Yes Sue Ann Manufacturing Co., Inc. Yes Sunny South Fashions No Not Delivered Sutton Place Ltd., Inc. The Asbury's Accessories 'N Things No of Now No Trannell by R & W Manufacturing No Tres Petite, Inc. No No Trio Sportswear of Dallas, Inc. Tuxster Weather or Not Coats APPENDIX I: RATING SCALES - MEN'S MANUFACTURERS IN DALLAS (N=12) Rating Scales Reason for Omission Name of Manufacturer Responded From Study Bonham Manufacturing Co., Inc. No DeVille Cravats No Gammon of Dallas Yes Glen Oaks Industries, Inc. Yes Distribution Center Haggar Company Yes International Apparel Company No Jump Suits Ltd. Yes Missing Data Mel Rose Manufacturing Company No San Gabriel Slack Company No Sidran Sportswear, Inc. No Simone Tailoring No Sweet Manufacturing Company Yes 80 APPENDIX J: RATING SCALES - CHILDREN'S MANUFAC TURES IN DALLAS (N=10) Rating Scales Reason for Omission Name of Manufacturer Responded From Study Craig & Langlotz No Dotty Dan Company Yes Green Brothers Underwear Manu facturing Company Yes Harris Knits of Dallas No Harry David of Dallas, Inc. No Infants Specialty Co., Inc. Yes Johnston, Inc. Yes Kim Togs, Inc. No Not Delivered Nahas of Texas No Texas Infants No Not Delivered 81 APPENDIX K RATING SCALES - WOMEN' MANUFACTUPJIRS IN LOS ANGELES (N=200) Rating Scales Reason for Omission Name of Manufacturer Responded From Study Achille Dattilo No Adele Jones of California Yes Adventure Fashions, Inc. No Africano Ltd. No Not Delivered Alexa from Sunny California No Alex Colman, Inc. No Alex of Lilli No Alfred Shaheen, Ltd. Yes Alpaq, Inc. Yes Angela Originals No Not Delivered Anne Ford Designs Yes Aracely of California No Ardee Sportswear Yes Around Gladstone No Arpeja No Avante No Not Delivered Baba Kea of Honolulu, Inc. Yes Barco of California No Barney Max Designs, Ltd. No Barnie Sobel of California No Beach Mates of California, Inc No Beachville, U.S.A. No Ben Shulman, Corporation No Not Delivered Beth Burnell No Not Delivered Beverly Vogue Yes Missing Data Binen's of California, Inc. No Bridal Style No No Cahill, Ltd. Missing Data California Casuals Yes California—Elisabeth Stewart Yes Swimwear No California Girls, Inc. California Leather Garment No Manufacturing Company No California Playmates No California Things, Inc. No California Trends No Campus Casuals Yes Cardinale No Casa de George Yes Catalina, Inc. Yes Not Apparel— Cathy Accessories, Inc. Accessories 82 83 APPENDIX K—Continued Rating Scales Reason for Omission Name of Manufacturer Responded From Study Charles Greenberger No Charles L. Lewis, Inc. Yes Missing Data Charm of Hollywood No Chic Lingerie Company, Inc. Yes Missing Data Cole of California, Inc. Yes Contempo of California, Inc. Yes Contessa of California Yes Corkey Craig of California No Daleall No David Barr, Inc. Yes Missing Data DeMichel Originals No Denise Designs, Inc. Yes Design House No DeWeese Designs Yes DiCarlo of California No Domino of California, Inc. Yes Don Christopher No Not Delivered Donig of California No Dore Designs No Not Delivered Eddy George, Inc. Yes Edith Flagg, Inc. No Edith Martin of California No Emanon No Ernst Strauss, Inc. Yes Missing Data Eros No E. T. California No Eve Le Coq Yes Fabiola No Not Delivered F. B. Horgan Company No Fernbacher-Kobe Company No Fleischman of California No Fred Rothchild of California No Funky Yes Galanos Originals Yes Missing Data Garbis of California No Gayle Stewart No Gear Limited No George Brown Originals No George Isaccs of California No Georges Factory No Georgia Bullock, Inc. Yes Graff Californiawear Yes Gustave Tassell No 84 APPENDIX K—Continued Rating Scales Reason for Omission Name of Manufacturer Responded From Study H. & M. Manufacture No Heads Up No No Helen Bass of California, Inc. No Helen Rose Yes Helga Originals, Inc. No Hems-N-Hers, Inc. No Henry Osterman Dresses Yes High Tide Swimwear from California No Hob Nob No Not Delivered Hollywood Casuals Yes Holmes of California, Inc. No Honey Junior Petites No House of Tuxhorn No Not Delivered H. William Hibler No Ignatz of California No I. J. Wexler, Coats Yes Not Apparel International Tropic—Cal., Inc. Manufacturer International Set, Inc. Yes Ivan Frederics of California No Jack A. Levin & Associates, Inc. No Jesus B. Hernandez No Not Delivered No Joanna Nelson No Jody-Tootique No Joe Karno No John of California Yes Joshua Tree, California Yes Joy Stevens, California No Not Delivered J Street West No Julie Miller Yes Kayo of California No Not Delivered Knitbugs, Inc. No Koret of California No Kristine of California No Kukulus Originals No Lanz Originals No Not Delivered Lee Herman of California No Lee Mar of California Yes LeRoy Knitted Sportswear, Inc. No Not Delivered Limelight, Inc. No Lotus Fashions Yes Loubella Extendables, Inc. 85 APPENDIX K—Continued Rating Scales Reason for Omission Name of Manufacturer Responded From Study Lou-Gene of California No Lucie Ann No Lucky Girl of California No Malia-Hawaii, Inc. No Malibu Media No Not Delivered Manning Silver Design No Marguerite Dexter Yes Missing Data Marilyne Holm No Marilyn K. of California, Inc. Yes Marival Originals No Not Delivered Marjorie Michael, Inc. No Marjorie Montgomery of California No Marty's Fashions No Mary McGowan No Miss Continental No Miss Pat No No Miss Rita of California No Mr. Blackwell No Mr. Z No Murray of California Yes Norma J of California No Norman Todd No Norman Wiatt Yes Missing Data Patty Woodward No Paul of California Yes Philip Originals No Not Delivered Picardo of California, Inc. No Pixie of California Yes Poppy, Inc. No Prima Donna No Yes Ray Aghayan/Bob Makel No Rebecca, Inc. No Renee Firestone No Not Delivered Ricco California No Rick Byron Originals No Robert Courtney Yes Rosenblums, Inc. Out-of-business Saba of California Yes Saint Rogue No Sauci Juniors No Sbicca of California No Scharff Corporation 86 APPENDIX K—Continued Rating Scales Reason for Omission Name of Manufacturer Responded From Study Sea Fashions of California No Sebastian No S. Eisenberg No Shoes 'N Stuff by Frank Sbicca No Not Delivered S. Howard Hirsh No Signer of California No Sir James, Inc. No Sirena Swimwear, Inc. Yes Sirje' of California No Sorority House No Stanley Lieberman No Sun Fashions of Hawaii, Ltd. Yes Sunday's Child No Surf & Turf No Sydney Designs No Sydney North No Tabak, Inc. No Yes Missing Data Tails by C. Freeberger Yes Teddi of California No Not Delivered Tempo Togs No "That Look" No The Waiting Line No Not Delivered Toby Berman of California, Inc No Not Delivered Top Notch California Yes Tori Richards, Ltd. Yes Trimar, Inc. Yes Victor H. Levy, Inc. Yes Yes Too late for Voila, Inc. computer anal White Stag Manufacturing Co. ysis Wild Life No Young Edwardian No Young Innocent No Your Own Thing, Inc. No Yvonne Originals No APPENDIX L: RATING SCALES - MEN'S MANUFACTURERS IN LOS ANGELES (N=12) Rating Scales Reason for Omission Name of Manufacturer Responded From Study Alexander Shirt Company Yes Barn Door No Calderon Sportswear Company No Not Delivered Yes Not Apparel Cooper & Kramer Manufacturer Hank Gross No Jackman Custom Originals No No Lane Crest Clothes No Montague for California No Sportclothes Ltd. No The Renaissance Slack No Valdan Sportswear No Victor Carnevali 87 APPENDIX M: RATING SCALES - CHILDREN'S MANUFAC TURERS IN LOS ANGELES (N=12) Rating Scales Reason for Omission Name of Manufacturer Responded From Study Bar-Craft of California, Inc. Yes Missing Data Betty Brooks Company Yes California Knitwear Company No Cal-Togs No Daisy of California, Inc. Yes Sale Sportswear, Inc. No Harry Rosenblatt & Sons No Hoffman of California No Not Delivered J Bar T, Inc. 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td d d w d o 0 rH 03 +» u •ri TJ 0 -H 0 H td H 04 O CJ fd rH 0 O O Tl U w U MH MH I •H fd td O O w I ^ fd -H fd CU •q U Tl rH 3 CD 05 05 S w 0 d 0 0 0 O X cn td tn tnH W O H 0 0 0 O O XJ P >lrH rH O CU u 3 0 fd -P rH rH XI u cn cq o -P H o -H O O O d Ol u d fd •H W CJ u cn CU -P d o d fd r-{ -H >1 -H •H XI 0 SH SH rH SH u td 0 •p -p W d u > O 0 fd O O •H 4J W -H •H -H -H U O CM d o d XI 0 •ri d d d w o u d d d^ri XJ I XJ EH I d 0 -H -p H M o 0 p d d d u u h) xi rH 0 XJ tn w -H 0 w EH d cn O 0 d -P rH > •H -H SH o O bt o fd SH SH 0 w O O 0 O W td •ri IS w \ Xi r-i o d o d •P d 0 0 fd td EH w Xi 0 o bi o w H MH d o Cn X 0 0\ 0 U TJ •H P cn td cn fd CJ -H d O d u 0 1 X X 0 d 0 0 o 0 W 0 SH I 1 TJ •H SH xi •P MH SH -p >iCJ -p •H -P d o O td w bi o ^ SH d u o < SH -P Id -p d IS d O o ^ 0 U CM EH bi bi pq td w EH -P •H Id -P -p 0 d S td cn W •H d -rH g o 0 xJ 0 SH w H-> ^ -p U fd w -P Xi o d -P 0 0 W 0 w 0 pq E^ 3 -H d -p 0 •ri d > d -p d CU o -H W U EH 03 3 H 0 cn CD -P 3 3 H td O s -P CJ o cn cn H IS APPENDIX O: MANUFACTURERS IN NEW YORK CITY INCLUDED IN STUDY Type of Designing Manufacturer and Production* Women's Manufacturers American Golfer, Incorporated 3 4 Anne Klein & Company, Incorporated 2 3 4 Berkshire Apparel Corporation 3 4 Bieff Limited (Genesis Designs, LTD) 2 3 4 Bill Blass Limited 1 Cohen Brothers Dress Corporation 3 4 5 6 David H. Smith, Incorporated 3 di Sant Angelo, Incorporated 12 3 4 Geoffrey Beene, Incorporated 12 3 4 House of Bloom, Incorporated 3 4 Howard B. Wolf, Incorporated 3 4 Jerry Silverman, Incorporated (Shannon Rodgers) 3 4 5 Jimmae Manufacturing Company, Incorporated 12 3 Kayser Roth 3 4 5 6 Kenrose Manufacturing Company 4 5 6 Lady Blanche, Incorporated 4 5 6 Marvin M. Reben 5 6 Paganne Limited 2 3 4 R. & M. Kaufmann, Incorporated 3 4 5 Robert J. Briar Jr. 2 Stan Herman 3 4 The Now Generation 3 4 5 Tjian Limited 2 3 4 Toby Tanner 3 4 108 109 APPENDIX 0—Continued Type of Designing Manufacturer and Production* Men's Manufacturers Hickey-Freeman Company, Incorporated 3 4 McGregor-Doniger, Incorporated 3 4 5 Petrocelli Clothes, Incorporated 1 3 4 5 Children's Manufacturers Danskin, Incorporated 2 3 4 5 Gay Togs 2 4 5 Jack & Jill Togs 4 5 6 * 1 Haute Couture or Custom 2 Boutique 3 Speciality Store 4 Department Store 5 Chain Store 6 DiscoTint Store APPENDIX p: MANUFACTURERS IN DALLAS INCLUDED IN STUDY Type of Designing Manufacturer and Production* Women's Manufacturers Alice Martin, Incorporated 3 4 5 Ann Murry, Incorporated 3 4 Capri Manufacturing Company of Texas, Incorporated 3 4 5 Clifton Wilhite Company 3 4 Donovan-Galvani of Dallas 3 Hensley Russell, Incorporated (Joni J) 3 4 5 Henson-Kickernick, Incorporated (Marja) 3 4 5 Herman Marcus, Incorporated 4 Isaacson-Carrico Manufacturing Company 4 5 Jennefer of Dallas, Incorporated 2 3 4 Johnston Incorporated 3 4 Kingston Manufacturing Company 3 4 L.& L. Manufacturing Company 3 4 5 Les Wilk, Incorporated 12 3 Mr. Fine 3 4 5 Mr. Jack, Incorporated 3 4 5 Nardis of Dallas 2 3 4 Prophecy Corporation 3 4 R. L. Davis Manufacturing Company, Incorporated 3 4 Royal Park Fashions 4 5 Russell-Newman Manufacturing Company, Incorporated 3 4 5 Stockton Manufacturing 4 5 Company, Incorporated Sue Ann Manufacturing Company, Incorporated 3 6 Sunny South Fashions 3 4 5 110 Ill APPENDIX P—Continued Type of Designing Manufacturers and Production* Men's Manufacturers Gammon of Dallas 4 5 Haggar Company 3 4 5 Sweet Manufacturing Company 3 4 Children's Manufacturers Dotty Dan 3 4 Green Brothers Manufacturing Company 3 4 Infant Speciality Company 2 3 4 5 Johnston Incorporated 3 1 Haute Couture or Custom 2 Boutique 3 Speciality Store 4 Department Store 5 Chain Store 6 Discount Store APPENDIX Q: MANUFACTURERS IN LOS ANGELES INCLUDED IN STUDY Type of Designing Manufacturers and Production* Women's Manufacturers Adele Jones of California 3 4 5 6 Alfred Shaheen, Limited 2 4 5 Alpaf, Incorporated 2 3 4 Anne Ford Designs 2 Ardee Sportswear 3 4 Baba Kea of Honolulu, Incorporated 3 California—Elisabeth Stewart Swimwear 12 3 4 Cardinale 12 3 4 5 Catalina, Incorporated 3 4 5 6 Cole of California, Incorporated 3 4 5 Contempo of California, Incorporated 4 Contessa of California 2 3 4 5 Denise Designs, Incorporated 3 DeWeese Designs 2 3 4 Domino of California, 4 5 6 Incorporated Eddy George, Incorporated 2 3 4 Eve Le Coq -^ ^ Funky ^ ^ Georgia Bullock, Incorporated 2 3 4 Graff Californiawear •^ ^ Helga Originals, Incorporated 1 High Tide Swimwear from California 3 4 5 Holmes of California, Incorporated 2 International Set, Incorporated 3 4 5 112 113 APPENDIX Q—Continued Type of Designing Manufacturers and Production* Joshua Tree, California 3 4 Joy Stevens-California 2 3 4 Kayo Knitwear of California 4 5 6 Le Roy Knitted Sportswear, Incorporated 3 4 Loubella Extendables, Incorporated 3 4 Marilyn K. of California, Incorporated 4 5 Norma J. of California 3 4 5 6 Philip Originals 3 4 Poppy, Incorporated 3 4 Rebecca, Incorporated 12 3 5 Saba of California 2 3 4 Sirena Swimwear, Incorporated 2 3 4 5 Sun Fashions of Hawaii, Limited 3 4 Teddi of California 3 4 Tori-Richards, Limited 3 4 Trimar, Incorporated 2 3 4 Victor H. 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Beck i Amar : Arap i Amer : 118 w g VO VO VO VO VO VO VO VO VO fd * VO in SH TJ in in in in in in tjs 0 in in in in in O U ^ U 0 CU MH ro MH CM CM CM d o CM CM r M r 0 ni a TJ iH fd td 0 •H SH MH fd td d o td •H •H TJ SH td I-i fd •H rH d TJ -H 0 w 0 •H 0 -H d Id SH d SH td MH d u d SH CJ 0 d o -H w 0 •H •H SH 0 MH d •H -H d r-i w r-i cn V 0 MH ^ •H w -H -P fd td CM td d fd SH d Id MH •H 0 0 rH Id fd ^ « 0 CJ -H 0 fd TJ -H fd rH XJ d Id •P w X o fd K d tjs > •H d •H rH ^ fd Id -H o 0 d %k o o ffi 0 fd 0 ^ -p 0 SH fd 0 u TJ TJ b^ u I-q d O « U XJ ^ o N 0 U H H SH ^ I ^ 0 u O o d d •H rH V Id 0 ^ d w 0 «k fd 0 d SH CM ^ ^ fd ^ d tn Id I •H cn rH d w ^ 0 •P h> < 0 d d cn SH 0 d d •H CU d 0 m Cn ^ -p 0 0 SH 0 -H 0 X rH XJ o d d TJ ^ •ri w -P TJ d CQ P T3 H o o 4J w 0 cr> •ri d fd B 0 d fd Xi Id P d -p SH SH cn d r-i fd w td TJ •H w X d d w 3 0 d 0 fd d 0 U SH 0 -H 0 rH td 0 Id Id Id cq ffi ffi CU cq ^q C5 S Ol 05 cn CU CM s u Ol < 0 eg e S leg e F ni a A cn 0 r-{ •H 0 rH cn 0 0 cn r-i rH 0 cn u SH SH rH 0 rH 0 0 0 •H 0 o rH r-i X -H 0 cn > 0 U 0 0 0 r-i -p d Cn 0 Cn cn 0 X cn CJ 0 -H d 0 rH MH 0 X 0 CP 0 0 CJ d lo rH rH 0 r-i •p r-i 0 rH rH 0 X d rH 0 rH -H rH 0 r-i rA rA r-i cn 4J SH X 0 CJ 0 0 d 0 cn fd 0 0 -H 0 g •P CJ cn CJ d u 0 0 0 > U rA 0 d •H 0 •ri X 0 E SH rA U rA g d d CJ d X -p r-i X § SH •ri r-i 0 X 0 td p d •P -H rH -p 0 0 Id 0 X 0 d -p CJ 3 s ho M •H CJ 0 0 •ri U •ri rH U -p cn •H •H 0 0 g 0 d U Cn d d CJ •H 0 TJ u 0 o d > o Cn d XJ 0 d 0 d u u r-i SH -p o •H o 0 o -P rH g TJ h) • 0 r-i Id 0 d w 05 r-i s fd d T-i g Id -P •ri fd 0 d cn •H d SH rH d 0 r-i 0 0 d 0 0 p-TU I 0 cn d d CJ 0 u d 0 0 d -H -p 0 U oq U u w rH xi -p U -P •o TJ pq es t d n ia n 0 0 ym o td td Id X w 0 d (d Id •ri Sa n Ja Sa n D i Mo u Mi a Mo d cn Me s Me s Lon ' Ma r Ind . La n Lab ( CU Hut ( Hon < Pi 119 w B VO VO VO VO td * U TJ in in Cn 0 0 U SH 0 Ol MH ro ro MH d O CM CN CM CM Cn •H rA rH rA w 0 P fd fd w •H •H d •H d d d TJ d o 0 o •H o •H w d u -p -P -H d d w o o Cn •ri SH tj^ d 0 d •ri MH d •H d 0 d -H -P -H -H > •H o •H -p td rH XJ H XI w rH d fd o o w w •ri rH o u td fd IS H u ^q IS 0 •P I rH w IS I d ^ td -H 0 0 cn o 0 Tl > 0 0 d w -p d d X -H 0 X 4^ -P o Id fd •H H d -p o -P XI d X td fd > P o td $H 0 o I^ rH O 3 •p 0 td d CU 0 td cq cn cn CJ 04 CU CU cn s Ol d < o •H w 0 -H X Di > 0 -P 0 w 0 W W •H rH d 0 d P 0 X w ,-A o EH o cn -p SH SH fd o •H H 0 •H 0 O X o u XJ 0 4J fd d rA d > •H 4J •ri w SH d •H •p i-A d -H d •H d u fd OX! 0 fd o d d d Xi CM w u CU 0 SH fd CJ p d o o l-D 0 SH d TJ XI 0 0 td CJ w b^ fd cn 0 b^ CU EH -p •H X o -H O SH SH 0 rA O SH u X w d SH O g 0 td d td •p X 0 Tl o u O O td P SH d w d 0 0 P o MH MH MH •H d 3 4-> "H -Hg rH d -P d SH d d 0 rH 0 o d •H g 04 d o d d rH 0 0 cn Cn •H 0 t7^ H cn tj> fd Cn u -P td O I Cn-H U 0 CM 0 05 •ri Xi •ri •ri d 0 •H •p w w w w w cr rA d d H rA fd -P w w 0 rH SH 0 rA XI w g 0 fd 0 0 td d fd o rH O 0 0 o d O w d fd Q CM p p -P U XJ XJ CJ 0 H •H -P fd u -P -p X rH CM ro '^ in VO d fd d d d o fd •H •K td 0 o o CU cn cn cn cn cn IS 5 120 CO VO VO fd * SH TI in in in in in Cn 0 in in O U U 0 On MH MH cn d o CM CM CM CM CM CM CM CM tj^ •H iH rA r-i rA rA rA r-i W 0 P fd fd •H fd •H d •H X X fd d u u d > SH fd fd o o O g > fd X X O X X o rH w •P MH w Xi X I^ I^ •H o •H d fd d w 0 0 O w d 0 rH o td 0 rH 0 d 3 3 d fd 3 X •H -P d 04 U d •H u o -p o fd 0 d w TJ X X X fd PU •H o o 0 •H •p •p H o fd -P 0 o d U •ri -H w •H •H I-q d d O Xi CJ CJ -H XI U •H o H Cn d 0 O Ol -H -P CM SH X X •H d d rH ,i^ > di d u u 0 o td 0 SH w XI •p d o o rH Cl TJ O 0 td •H w w X •H X X 0 CM td rH XJ g -P TJ 0 4J •H ^ -P o w fd d 04 d •H •H Id XJ 0 SH d td 0 0 d •H Id 04 3 3 04 cn CU 3 d d Cn XJ cn •H tJ^ •H w SH w d 0 d d 0 o 0 p XI cn p •H fd -p w •H w fd Xi d d d -p w d w d 0 MH w o X -P o 0 -p o 0 o -P O td •H MH 0 •p H •H -H cn •ri •H SH •H d O P CXI td rH -P xi 0 PH XI P -p -p P fd -H 0 0 u o 3 W w rA rH TJ w d r-i MH o d fd MH u -P 0 0 MH o o cq td O CO XJ XJ > XJ CU CM O 0 0 td CM 0 o Tl XI > Ci u d U TJ u Ol CJ cn cr> cn 0 o td cn < 0 rH MH X 0 o Cn MH H fd d g -P cn d 0 0 fd •H +J o 0 g o 0 w SH td fd o o 0 fd •H 0 0 XI SH rA rA Tl SH 0 X rH Xi SH fd O 0 0 SH o <: fd 3 •H •H o W Q d 0 cn o XJ Id 0 Xi td 0 o < u d O CU CU g 0 cn d •ri -H SH CU X-H XJ O w 0 u w (d SH d XJ < u fd tfl XI cn d •p d fd rH d Xi d w IS 0 0 o O CM 0 cn w o •H tjs d XI 0 d o 0 cn fd W o o td 0 1 o d u cn •P 0 u u X d fd b^ SH 0 d d ^ d 0 o 0 CM P 0 H Xi fd W 0 •H H 0 P SH 0 P W EH u b^ 0 U CU I X -H TJ XJ w 0 •H W •H X 4-> d Id fd o TJ d 04 fd td fd Id •H fd SH SH •H d JH fd cn EH bi < CM S S 3 CU <; CQ EH 121 w g VO fd * U TJ in cn 0 0 U SH 0 CU MH MH d o CN tj^ •H rA W 0 P fd •H d TJ fd 0 > d d rH d o X -H •ri w -p •P d d td d o o 0 u o CU I I-q I d bi o w •p 0 X •H H w tr« > p d o 3 cq •H CU d Ol o < •H w -H > 0 0 W w w d 0 d p o bi o •H \-H rA tJ^ fd d td XJ 0 -p d w u fd d •H 0 td •p o oxi •H rA CM fd •H w o -p O 0 d SH td fd 0 d Tl XI d 0 0 O XI cn 0 EH p 04 b^ o O •H O g 0 > cn W d SH 0 u u g 0 TJ 0 U o o td td rA P 0 MH MH MH 3 0 fd SH d SH o g 04 d 0 d d < •H 0 1 tp •H cn cn d -P w •H XI •ri -ri 0 xi W w w W w w Tl o d td 0 td 0 0 •H 0 U S P CM p p W EH -P W rH CN ro "^ m VO 0 IS 122 w 'g fd * SH TJ in tj\ 0 in in O SH SH 0 04 MH ^H d O CM CN CM CM Cn CN •ri w 0 P X P P b^ cn 3 H P cq P P fd hA TJ U fd -H 3 g SH H d fd d O O XI d fd fd rH cn •H fd 0 cn 1^ CM hq -P rA cn 0 •H 0 O fd < 0 •H X! H ^ O o SH Xi O 0 0 o «kl o ^ O o •H -H rA -H CJ I-q g XI X rA Xi cn fd ». ^ o s -P •ri o XJ TJ w ^ •H > cn Cn d d K -p U d ^ w cn d td XI 0 •H 0 d 0 cq •H rA g TJ 0 d w 0 •ri 3 g •P d 0 SH 0 X •p > H SH rA r-i -P w O X o cn d 0u 0 0 0 td fd fd P pq CU bi P S h) p u d o •H w •H > X 0 0 H 0 w rH W W p W tJ^ d 0 d p 3 w 0 0 0 o bi o cq 0 Cn 0 cn rH •H \-H rH tr 04 d 0 MH Cn 0 0 rA XI 0 -P td d Id d -H 04 -H rH O 0 rA cn O w SH < w 0 u fd -P u o XI d o 0 O CM Id H W O u cn O U SH 0 d SH fd 0 U o O d TJ XI d 0 0 d 0 w W u •H cn 0 bi g CU EH O -p w w w d •H U 0 Xi d 0 O w 0 w d w d SH O SH SH g cn -P d U 0 d w ^^ 0 TJ o u o o MH MH MH fd d •H -H d •H 0 P O w CI d 3 td -p w u CO •H w d SH 0 d O w w d •ri XI g CU d o d d w I tr>-H tn tr> P tj^ d pq •H 0 d pq w O o I 0 H d d CQ d u -p w •ri XJ -H -H d rH w d-H d CQ w w W W W W O rH -p d h) w -P O fd d fd 0 td 0 0 w o w XI d •H -P X u P CM P P u u -H g w pq O rA 0 -H w d •H SH -H w g 0 rH CM ro '^ m VD > w rH > -P g w td fd o Id 0 td Id •H oq u P P APPENDIX V ADDITIONAL COMMENTS PROVIDED BY THE THREE KINDS OF SCHOOLS I. Illustration Four-year Universities and Colleges We feel fashion figure draping is more important than life drawing. Absolutely must be able to communicate what designer wants creation to look like for pattern and con struction. Many use lay figures. Clear sketches-ViP, Four years of drawing are required. More can be elected. The best design students are students who have had two years of drawing and design concentration before tackling apparel design. We stress clear working sketches and require some simple fashion rendering. This area only as a tool in communicating ideas. Not all students have ability and should not be penalized for making less than a perfect sketch. Two-year Junior Colleges This is a faster and sometimes better way to gain ideas and present a direction of designs rather than muslins. Also, less expensive. Should be able to develop wash drawings. Do not know what workroom sketches are. Trade/Technical and Business Schools A fair ability in life drawing is important background for developing a certain sensitivity to the human body and the creative ability to do it. (T/T) 123 124 I don't feel life drawing is as important. Most designers will have only the design that is in their heads to design their clothing. (B) ^ II, Design Four-year Universities and Colleges Necessary background. Most essential for students to understand basic art prin ciples in pure form before application. Four years of design required. Increases awareness of design concepts. Sharpens powers of observation and analysis, Two-year Junior Colleges Textile design is important mainly to gain further insights into just what fabrics of different weights, fibers, blends, etc, will do when draped. Trade/Technical and Business Schools Textile design—not for purest concept of "apparel design", (T/T) What does two and three dimensional design consist of? (T/T) III, Patternmaking Four-year Universities and Colleges Grading—questionable because of computer use. Both drafting and grading are incorporated into two flat pattern courses. Necessary in order to produce realistic functional designs as garments. We do not use drafting to any extent. Of special interest in mass-production. 125 Two-year Junior Colleges Very important. Mainly to determine ease of construction expense involved m manufacturing. ' Trade/Technical and Business Schools Designing through flat pattern very essential for mass- production, not for custom, (T/T) Grading not important for designer. Is a specialized iob (T/T) All important in design, (B) IV, Draping Four-year Universities and Colleges Half-scale faster, but full scale more accurate and real istic. All principles can be taught in half-scale. Full-scale for advanced problems and experienced. We have no time to drape on live models. Two-year Junior Colleges In order to really do a good job of draping, experiences with the half-scale manniquins are most essential in order to get the "feel" of draping. Trade/Technical and Business Schools Half-scale draping—absolutely poor for real industry work. (T/T) V, Clothing Construction Four-year Universities and Colleges Use of industrial machines can be learned on job. Cost ana lysis, usually done by special department in company, very hard without production data. Need to know so can direct ones who produce garments from 126 designerte work. Use of machines could be integrated with construction pro cedures . I don't believe a fashion designer needs to have acquired skills in these areas, but should be knowledgeable about them. Able to make judgements in these areas. All of these are taught at various levels of instruction to all fashion design students. We feel knowledge in all areas is important. Our students are required to take two courses in construction using domestic techniques and machines. The junior and senior design courses require industrial machines and methods (if possible) . Two-year Junior Colleges A person who has these skills often will be able to determine if a design is possible to construct after "working it up" on paper. Also, will be better able to analysis the cost involved in production, Trade/Technical and Business Schools Dressmaking/tailoring techniques are essential, (T/T) Knowing how a garment is put together will be a definite advantage in designing, (B) VI. Textiles Four-year Universities and Colleges Design without a sound knowledge of textiles produces unfun- ctional garments, What about economics of apparel industry? Should include marketing and promotion of textiles. How to use fabric in design most essential. 127 Two-year Junior Colleges In order to better understand behavior of fabrics, qualities related to production (economics) characteristics of fibers fabrics, most essential. ' Trade/Technical and Business- Schools Economics at textile industry not that important, other two vital, (B) History of textiles and costume good for inspiration, (B) VII, Psychology, Sociology and History Four-year Universities and Colleges For inspiration and understanding. Excellent source of inspiration. Depends on personal ambition. Two-year Junior Colleges Many sources of inspiration can be found in the study of these histories. What about psychology of dress? Trade/Technical and Business Schools Need more depth here. Stress sources of inspiration. (T/T) History of costume most important. (B) VIII, Communications Four-year Universities and Colleges Depends upon field person wants to go into. To convey ideas, Depends largely on career goals and future anticipated involvement. 128 Very supportive and helps develop awareness. Two courses in written communications are required. French (listed by two respondents). Two-year Junior Colleges These are vital, particularly to the presentation of designs French (listed by two respondents). Trade/Technical and Business Schools French. (T/T) It is necessary for a designer to have a fluent ability in speaking intelligently about design. (T/T) IX. Work Experience Four-year Universities and Colleges Ideal if they can be worked into four or five year program. To be financially successful. A student is required to work in a fashion related job be fore graduation. Essential for confidence and focusing on problems. Co-op program would be ideal. Depends on personal ambition. All students work for six, ten week quarters as part of degree requirement. We place as many students as possible with the garment manufacturers. We also encourage any sales work in the fashion field. We have work/study in industry and department stores. Two-year Junior Colleges One or the other should definitely be required. (Mass- production or custom). 129 Trade/Technical and Business Schools Selling always important to have had in background, (T/T) consumer!''^!Br^'^ ''^''^^^ experience to understand the Find retail experience most helpful to students understanding X. General Comments Four-year Universities and Colleges We teach all aspects of design. Students select and mani pulate courses to suit their interest. We have a new major. Clothing (textiles and communication) . Strong background in clothing construction and dress design plus journalism. Our students are artists first, designers second. We have a unique philosophy and learning process in fashion design unlike other design/fashion schools. It is necessary to study the program in its relation to other programs in other schools to evaluate it on such a scale. We offer a program called "Consumer Textiles". It stresses the social science aspects of clothing and can lead to a career in design. I teach a course in history in costume in which I explore the factors in society that affect fashion. It has become very obvious that fashions are a reflection of the times and the successful designer is the one who can predict the mood of the country and the consumer. The "new look" of the 40's and the disaster of the midi are examples. Trade/Technical and Business Schools Your analysis is very reflective of the program I went through at UCLA. Also, my industry and retail experience pointed out the short comings of preparation in a school that separates the creative (art) from the home economics area. You have generally neglected the type of two dimensional drawing to finished plates that enables a student to build a portfolio and gain valuable critiques from professionals and instructors. Many classes of this type are important, (T/T) 130 Your absence of any mention of draping as a creative designing method (after all, apparel is soft sculpture) is disappointing. A general lack of special textile technology (ie, work in new fibers and construction) is also typical of a home economics approach. (T/T) Perhaps in the final analysis, home economics teachers should teach sewing for home makers and let the professional designers and patternmakers teach commercially oriented students with a strong emphasis on both creative (art) aspects of design and the technology of modern industry playing its important role. (T/T) APPENDIX W ADDITIONAL COMMENTS PROVIDED BY MANUFACTURERS OF WOMEN'S APPAREL I. Illustration New York city Designer must be a creator of fashion not an illustrator Anatomy sketching important. A luxury item in hard manufacturing. Most designers start by sketching so it is important to know how. However, a good workroom sketch is what in the end will become the most important part of your career. Life drawing is important if way body is put together and moves is stressed. As name designer assistant, good sketching is essential. All this is great to know. A beautiful sketch is to be envied but can be done with match stick figures. All these relate. If you can sketch well you can do the others . Dallas Workroom drawing essential. Life drawing helps develop fashion drawing, Workroom sketches showing construction lines and placement of trim is most important. Much more important to know if the sketch you make is feasible in factory. Fashion rendering not needed for designing. Los Angeles Life drawing-the basic foundation for sketching or illustra^ tion is knowledge of the anatomy, proportion etc., which helps the design. Again, it is up to the individual. I would recommend it. 131 132 Good sketches mean time saving to a designer or assistant. Can translate easier. Life drawing-aware of body contours does not insure employ ment. Freehand drawing, fashion rendering and life drawing are useful as a means of communicating ideas. Even though this is not required, any designer worth his salt should be able to render good, understandable sketches. Fashion sketching is almost a must in order to eliminate unnecessary time spent in the actual designing. An attractive fashion sketch is extremely important. Must be able to submit clear version of design. II. Design New York City History of textiles more important than textile design. All design starts here. Everything you do depends on it. Three-dimensional design most important course. This entire area is essential. Two and three-dimensional design? (Two respondents.) Dallas A small amount of textile design helpful. Many times a designer works out fabric. Los Angeles Textile design in this instance is knowing what type of look is in or out . . . for whatever season. Must understand creative thoughts often come from excitement of a fabric one sees. All of these are important. 133 Three-dimensional design is of no use without fabric and color. Two and three-dimensional design? (Two respondents.) III. Patternmaking New York City There are many excellent patternmakers. A good designer should have full knowledge of draping. One should have an iinderstanding. It makes for practical knowledge when sketching, etc. Never made a flat pattern in my life. Depends on the market you wish to work in. Lower prices and mass-production often require these skills. Unless your major is patternmaking I do not feel these terribly essential. They .are good to know. Not at all necessary, but nice to know. Good knowledge to have, but not essential in todays world. Dallas Drafting-depends on position. For strictly designing, grading is not required, although some designers do grade. Drafting and designing most important. Most used methods. Major void in good patternmaking and grading. Must be able to make own pattern. Los Angeles The grading will come in handy when you wish to change the size of garments designed in the exact proportion so it will fit. 134 Depends if student prefers this direction of technical or creative. Good designs are those produced through understanding cons truction. Very important. All phases. Without this knowledge, a designer stands little chance of securing a position. Important, but relative to type of design factory or organ ization. Very important to understand pattern well. * The better a patternmaker the more desirable and profitable the designer. IV. Draping New York City Most important class of schooling. One should have an understanding knowledge to guide one's creativity on paper, also. Important!I 1 Standard size if made correctly will fit most models. Standard size models are used in industry. It is good to know how when you start in industry. Not at all necessary but nice to know. Any scale as long as it looks good. Dallas Rarely used except on lapels, collars and establishing new blocks. Los Angeles Very important, all phases. 135 Draping is a form of patternmaking and very important in any phase of designing. ^ Knowledge of draping very essential although name designers use drapers but must understand to supervise. Half scale draping is very impractical-distorts. V. Clothing Construction New York City All of these very helpful especially in popular priced field —not required in high couture. When you design any added knowledge helps in the process of relating ones creation and even in the creating itself. Most of this can be experienced on the job. If you know how to make and fit a dress keeping the price in mind you've got it licked. I don't even know how to thread a machine and we have 18 factories. These things are learned more in actual job. In whole career a designer may never have to use a power machine or any other but he should know how so he can super vise others, Sewing is important—hand sewing not so important, All of these things relate to an assistant in the workroom, not in designing. You are suppose to be teaching fashion designers, not factory help. Dallas Cost analysis depends on factory. Small amount of knowledge of industrial machines helpful. Cost analysis can be learned on job. Designers with our company are asked not to consider cost when they create. Cost analysis—this varies with manufacturer. Factory methods are so different from home sewing, knowledge of factory sewing is more important. 136 Los Angeles As a designer you may not actually ever operate any machine, but one should be acquainted with varies types so you can instruct samplemakers. Fitting-garments often don't sell because this isn't stressed enough. The more knowledge attained in this area the easier it is to determine various ways of doing the job. Cost analysis is very, very important. All of these are important. The more knowledge the more acceptable one becomes. One must know all of these principles to be able to direct the construction of a garment. Fitting is the most important of skills. VI. Textiles New York City Important today. Many new fibers. Designer must be cons tantly aware of changes, The more knowledge about what a fabric can do the better beginning a design. In this day of synthetics you must know how they will perform Difficult to keep courses current. Fabric salesmen teach on the job. The more knowledge of fabric the better. Dallas Los Angeles Let students go to mills to see fabrics being made and dyed and finished. Fabric is very integral part of design. 137 VII. Psychology, Sociology & History New York City All of these are important foundation. All knowledge is worthwhile. This is of relative importance. The best designers are students of history relating to cycles. If you are interested in design you will absorb this information everyday of your life. The attitudes and social psychological significance of clothing is essential to ever have the mentality to under stand and relate clothes to people. Nice too, but not essential. I think history of art can give you line, color and proportion. Dallas I have found these subjects the most rewarding in my field of clothing merchandising. All of these can only make the student better in their field. Los Angeles Useful background information, though not essential. Though not essential to employment, you need all this infor mation for your own needs in designing. This would be more useful in teaching rather than designing. History of art should be a prerequisite. VIII. Communications New York City Excluding speech, the rest unimportant. Speech unimportant unless you are selling Yourself. Seam stresses arl often Spanish or Italian and knowledge of the language is helpful. Designer has to express her ideas with confidence. 138 Nowadays, every_designer talks and meets their public so speech IS very important. Another language particularly French is absolutely necessary. And I don't mean high school French. ^ Must be able to communicate ideas verbally. In New York City a large number of sample hands are Spanish and there is a language problem (listed by three respondents) Dallas No formal speaking needed. French helpful, but certainly not necessary. Unimportant, but always very helpful no matter what field. Los Angeles Good to have awareness of advertising art and mass com munications. Ability to communicate with fellow employees and interpret desires of merchandising committee. Mass communications and photography relevant to publicity not fashion design. French (listed by two respondents). Spanish (listed by three respondents). IX. Work Experience New York City Any related experience helpful but not required for employ ment. Good consumer knowledge helps a great deal. We also own our own store in New York City. The emphases here should be in the area of design students expect to go into. In a few years custom will be a thing of the past so con centrate on mass. One week of retail experience for a designer is worth a month in the workroom. 139 All experience is good but only if it develops taste. Dallas Depends on the job desired. Retail experience can be very helpful. Depends on which field the person intends to go into, Los Angeles Necessary for type of job in mind. It is an advantage to have experience in custom and mass- production. You will be prepared for either direction you may decide to go. ^ Most of designing today is for the masses. Design courses should concentrate on teaching for moderate priced clothing. Depends on area of interest. Mass production most important. Anyone of these could be of help. Again, relative to what type of firm working for. All three are extremely important. Since most graduates will have to work in the mass production field this must be stressed. As much experience as possible in patternmaking and production methods. X. General Comments From Three Types of Manufacturers New York City You do not appear to differentiate between men and women. The requirements should be quite different. (men's apparel) Ability to draw attractive sketches could be a great advantage. (men's apparel) Patternmaking—Everyone today can draw but not cut a pattern. Construction—Important to know all about, but designer does not have to use them. (men's apparel) 140 On the job training, extremely important. (children's apparel) Dallas You left out one category, imagination. (women's apparel) The prime concern forgotten by most schools is the teaching of saleability which in the final analysis determines how valuable a designer is to his or her company. (women's apparel) The more knowledge in construction the more valuable the person. Also knowledge of plant operation valuable. Experience would be great. There are few people with all three of these. (men's apparel) Draping, not applicable. These ratings are for people with experience in design to be successful. Trainees only need the ability to reach these levels. (men's apparel) Illustration without patternmaking is 0. Patternmaking, a must for real understanding. Construction, able to show, tell and do. Knowledge of textiles always helpful. Exper ience related to mass-production important. (men's apparel) We do not use draping. (children's apparel) Los Angeles Design is a complex part of our business. Schooling is important, but practical experience most essential for i^i?ning to design. A designer must be creative and aware of wha? public will buy. Fabric and styling will always be a vlriable^ but cost and the feasibility of manufacturing a garment is constant. 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