A Conceptual Framework for Apparel Design

Lamb, Jane M.; Kallal, M. Jo

doi:10.1177/0887302x9201000207

Cited by 368 publications

(548 citation statements)

References 8 publications

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“…Nine out of 10 hypotheses were significant ( Figure 1). The data supported a FEA model (Lamb & Kallal, 1992), function, such as functional value (β = .67) and movement (β = .14), and aesthetic (β = .21) influenced attitude toward smart clothing. However, expressiveness (β = .06) did not influence attitude.…”

Section: Methodmentioning

confidence: 71%

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An Expanded Model to Investigate Smart Clothing's Purchase

Perry

2017

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Section: Methodmentioning

confidence: 71%

“…Theoretically, it combined the FEA Model and the theory of planned behavior (Ajzen, 1991;Lamb & Kallal, 1992). Future studies may use these two models to assess other type of clothing products.…”

Section: Methodmentioning

confidence: 99%

An Expanded Model to Investigate Smart Clothing's Purchase

Perry

2017

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“…Prototypes can be approved, disposed of a collection or modified as a result of the evaluation (Lamb & Kallal, 1992).…”

Section: Introductionmentioning

confidence: 99%

“…According to Lamb and Kallal (1992), the prototypes are judged on their success in meeting the functional, expressive and aesthetic needs previously specified for the product, and for this judgment, both subjective and objective measures are used. Prototypes can be approved, disposed of a collection or modified as a result of the evaluation (Lamb & Kallal, 1992).…”

Section: Introductionmentioning

confidence: 99%

<b>Using the analytic hierarchy process for selecting prototypes in the development process of fashion garment products

2017

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ABSTRACT. To remain in the market, the process of development of fashion garment products produces a large quantity of products. During this process, the prototypes are made, evaluated and selected to compose the collection, thus the designers use some criteria to select them. For a designer, this process of selection is a complex decision-making, because they need to combine several criteria to attend a very specific target audience. Within this context, the main objective of this study was to propose a model for the selection of prototypes in the development process of fashion garment products, based on a multicriteria tool, the Analytical Hierarchy Process (AHP). The model was developed based on literature, and the criteria used were: part acceptance, cost, design and production. Then, the developed tool was applied to a real case study and proved to be efficient, thereby enabling a structured modeling of the problem considering the multiple criteria and uncertainty.Keywords: analytic hierarchy method, decision-making, multi-criteria tool, product and process development, clothing.Utilização do método de análise hierárquica para seleção de protótipos no processo de desenvolvimento de produto do vestuário RESUMO. Para se manter no mercado, o processo de desenvolvimento de produtos do vestuário de moda desenvolve uma grande quantidades de produtos. Durante esse processo, os protótipos são desenvolvidos, avaliados e selecionados para compor a coleção, e, para a avaliação dos protótipos, os designers utilizam critérios para selecioná-los. Para o designer, esse processo de seleção é um complexo processo de tomada de decisão no qual é necessário combinar diversos critérios para um público-alvo específico. O objetivo principal deste trabalho é a proposta de um modelo para seleção de protótipos para o processo de desenvolvimento de produto do vestuário, baseada em uma ferramenta multicritério: o Método de Análise Hierárquica (AHP). O modelo foi desenvolvido com base na literatura, e os critérios utilizados foram: aceitação da peça, custo, design e produção. Em seguida, foi aplicado a um estudo de caso real, o qual foi eficiente, permitindo, assim, uma modelagem estruturada do problema, considerando os diversos critérios e incertezas.Palavras-chave: método de análise hierárquica, tomada de decisão, ferramenta multicritério, desenvolvimento de produto, vestuário.

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“…Previous literature has explored design methodologies and procedures that are employed when a client is present (LaBat andSokoloski, 1999 &Lamb andKallal, 1992), but is often directed to a design brief for functional products rather than art pieces. Dahl, Chattopadhyay, and Gorn (2001) examined the role of visualization in concept design and the communication difficulties encountered when "imaginative visualization" is employed.…”

mentioning

confidence: 99%

With a Theme, as a Team, for a Client: A Digital Textile Design Commissioned Art Project

Parsons

Ridgway

Tofflemire

2013

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The creative textile design process presents both challenges and opportunities when designing for a client. In addition, as practicing artists and designers in academia, we often question our understanding of and research path toward design that is for decorative rather than for functional purposes. There are few clear research models available, especially when the objective is artwork intended to communicate a specific message defined by a client. This project began when a design faculty member was commissioned to create four large banners for the Newman Center on a large university campus. The center's art committee identified themes based on the coming year's liturgical readings from the Book of Luke. The themes identified were Outcast, Women, Hospitality, and Wonder. All four banners would be introduced to the congregation during Advent. Given the scale of the commission and the short time available, two additional designers, both graduate students, were selected to collaborate on the project. As academic artists/designers, our approach was not only to create a conceptual framework for telling the theme stories, but also to ask whether insight and new knowledge could occur within the parameters of a design commission. Initial questions included: How can we use digital textile design processes and technologies to create blended abstract/photorealistic imagery to evoke a specific theme? Can the theme be both abstract and allow the audience to "see" the designers' visualizations? How can the creative approaches of the team be coordinated? Finally, much of the process would rely on a combination of tacit knowledge and use of reflective practices. How might that best be communicated to both the client and to the broader academic community?The art/design process changes when it occurs in a group and when a client specifies the creative subject matter. Previous literature has explored design methodologies and procedures that are employed when a client is present (LaBat and Sokoloski, 1999 &Lamb andKallal, 1992), but is often directed to a design brief for functional products rather than art pieces. Dahl, Chattopadhyay, and Gorn (2001) examined the role of visualization in concept design and the communication difficulties encountered when "imaginative visualization" is employed. They presented a framework for incorporating the visualization process of both designer and client in order to have an outcome satisfactory to all. For this commission, the professor met with the clients for an initial interview to discuss their concepts and visualizations, and any concerns. It was clear from the outset that they wanted the banners to be abstract interpretations and not include traditional iconography or human figures. Otherwise, little additional direction was provided. The initial stages of the creative process were: analysis of the client brief; research to identify visual concepts that might connect to the themes and how they might be translated into abstract forms; and identification of images that would embody the them...

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A Conceptual Framework for Apparel Design

Cited by 368 publications

References 8 publications

An Expanded Model to Investigate Smart Clothing's Purchase

An Expanded Model to Investigate Smart Clothing's Purchase

<b>Using the analytic hierarchy process for selecting prototypes in the development process of fashion garment products

With a Theme, as a Team, for a Client: A Digital Textile Design Commissioned Art Project

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