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MiCHECAIQ STATE Ui‘H'JLEN...
CW
EAST LANSING, MICHIGAN

//A STUDY OF THE CREATIVE METHODS OF AMERICAN DESIGNERS

AND THEIR CONTRIBUTION To FASHION APPAREL/
by

Elaine C. STauber

//

A PROBLEM

Submiffed To
Michigan STaTe UniversiTy
in parTial fulfillmenT of The requiremenfs
for The degree of

MASTER OF ARTS

DeparTmenT of TexTiles, CloThing and RelaTed ArTs

I967

I33l
563

TH5

ABSTRACT

A STUDY OF THE CREATIVE METHODS OF AMERICAN DESIGNERS
AND THEIR CONTRIBUTION TO FASHION APPAREL

by Elaine C. STauber

This sTudy of a represenTaTive group of American designers of
fashion apparel was iniTiaTed in The inTeresT of inTerpreTing The role
of creaTive designers and Their conTribuTion To The apparel indusTry.
An ouTgrowTh of a larger survey of regional markeTs currenle underway
aT Michigan STaTe UniversiTy, This sTudy is an exploraTion of The back-
ground, sources of inspiraTion, meThods of creaTion, presenTaTion and
disTribuTion of apparel creaTed by well known designers.

A selecTed group of designers was chosen from a lisTing of The
Council of Fashion Designers of America which represenTs ouTsTanding
creaTive leaders in The fashion field. Ten designers were inTerviewed
in Their New York showrooms. The sTrucTured inTerview schedule was
divided InTo four parTs: The firsT parT soughT To obTain informaTion
abouT The designer's background, Training, and experience; The second
parT was designed To gain insighT inTo The role of The designer; The
Third parT concerned The Type of apparel designed and iTs promoTion
and disTribuTion; and The final parT asked for The designer's opinion
of his conTribuTion To The American fashion apparel indusTry.

The findings of The sTudy indicaTed ThaT each of The selecTed
designers had spenT years in The indusTry before achieving recogniTion

and fame. The educaTional achievemenT level of The selecTed designers

Elaine C. STauber

ranged from high school To The compleTion of arT school. All designers
inTerviewed sTressed The need for Thorough knowledge of all aspecTs of
The fashion business. A period of apprenTiceship was considered Their
mosT valuable experience. All designers In The group hold managemenT
posiTions in Their firms aT The presenT Time.

Each designer indicaTed his own meThods of work leading To The
creaTion of new designs. AlThough inspiraTional ideas menTioned were
many and varied, The majoriTy of designers considered personal ex—
periences, Their cusTomers, and awareness of conTemporary life Their
mosT imporTanT sources of inspiraTion.

MeThods of creaTion varied wiTh each designer, buT all are
assisTed by associaTe designers, assisTanT designers, and skeTchers.
The designers felT iT is noT always necessary To know The Techniques
involved in consTrucTion of The sample models. Many expressed The
role of The designer as a creaTor and inTerpreTer of ideas. All of
The designers sTressed ThaT They supervise, ediT, and selecT The final
garmenTs To be shown in Their collecTions.

The majoriTy of The selecTed designers creaTe apparel for boTh
dayTime and evening wear; while one designs lingerie. Each designer
produces apparel wiThin a wide price range. Dresses are priced from
$50 for a sporTsdress To $4,000 for a formal evening gown. The besT
selling range for mosT popular iTems is from $50-$299. The besT
selling sizes are in The 8-l2 and 8-l4 size ranges.

The Fall/WinTer lines are The mosT imporTanT To The designers

since They are The Trend seTTing lines and represenT The largesT volume.

Elaine C. STauber

All The designers, excepT one, presenT collecTions of Their seasonal
lines in New York showrooms To The press and buyers. All exercise
compleTe conTrol over Their collecTions, noThing is shown wlThouT The
designers' final approval.

Apparel is sold To fine deparTmenT and specialTy sTores
ThroughouT The counTry. MosT of The designers' apparel is sold in
sTores in cosmopoliTan areas on The EasT and WesT CoasTs. The
designers are well known To The fashion conscious public and, as a
group, have won every major fashion award.

The designers felT They make a major conTribuTion To The
promoTion of American fashion. Many of The designers in The group
sTressed The feeling ThaT Their greaTesT conTribuTion was The creaTion

of apparel suiTed To and reflecTing The conTemporary American woman.

ACKNOWLEDGMENTS

The wriTer graTefully acknowledges Dr. Elinor NugenT for her
guidance, undersTanding, and encouragemenT in direcTing This sTudy;
Dr. Mary GepharT, deparTmenT chairman, for her conTlnued inTeresT
and aid in designing This sTudy; and Dr. Anna Creekmore for her aid
in The developmenT of The insTrumenT.

GraTiTude is expressed To Miss Eleanor LamberT and Miss
Eleanor McMillan for Their kind assisTance in selecTing The sample.
The wriTer is also indebTed To The individual members of The sample,
all of whom were more Than generous in giving of Their Time. Special
appreciaTlon is expressed To Miss Helen Kilbourne for her helpful
suggesTions during The preparaTion of This sTudy and To Mrs. Anne
Bleicher for her assisTance in The final sTages.

Finally, The auThor is graTeful for The encouragemenT expressed
by The faculTy, friends, and family ThroughouT The preparaTion of This

sTudy.

TABLE OF CONTENTS

ACKNOWLEDGMENTS... ........ ...... ......................... ....

LIST OF

ChapTer

TABLES ...............................................

INTRODUCTION... ..... . ...... .... ....... . ...... ........

STaTemenT of The Problem ...........................
Review of LiTeraTure. .............. . ........... ....
DefiniTion of Terms .......... ...... ................
lmporTance of The STudy... ............... .... ......

METHODOLOGY ................................ ..........
SelecTion of The MeThod............. ..... . .........
DevelopmenT of The lnsTrumenT.......... ............

SelecTion of RepresenTaTive Designers ..............

TRAINING, EXPERIENCE AND ACCOMPLISHMENTS

OF AMERICAN DESIGNERS ..................... . .........
EducaTion and Training. ....... . .......... ..........
Experience........ ............................. ..
Summary........... .................................

INSPIRATIONAL SOURCES AND CREATION OF

FASHION APPAREL ......... .. ..........................
Sources of Designs ..................... . ....... ....
MeThods of CreaTion......... ....... ......... .......
Summary........ ...... ........................ ......

TYPES, PRESENTATION AND DISTRIBUTION OF
FASHION APPAREL.. ............. . .....................

Apparel Types ........ ........ ..... . ................
PresenTaTion of Apparel.......... ..... .............
Influence of Designers Upon American
Fashion............................ .............. .
Summary ............................................

iii

Page

I9
2|
27

3O
3O
33
36
37

37
42

48
53

ChapTer Page
Vl. SUMMARY AND RECOMMENDATIONS. . . . . . . .“ 54
Summary. . . . . . . . . . . . . . 54
RecommendaTions . . . . . . . . . . . 57

APPENDIX A. lnTerview Schedule. . . . . . . . . 59
APPENDIX B. lnTroducTory LeTTer . . . . . . . . 64

APPENDIX C. Members of The Council of Fashion
Designers of America. . . . . . . . 65

APPENDIX D. LeTTer To Designers . . . . . . . . 66
APPENDIX E. LisT of CooperaTing Designers . . . . . 67

BIBLIOGRAPHY . . . . . . . . . . . . . . . 68

iv

LIST OF TABLES

Table Page

I. Type, Courses and Years in School and Type and
Years of Experience of Individual Designers .......... 28

2. Type and Years in PresenT PosiTion, OTher
AffiliaTions, Labels and Fashion Awards
of Individual Designers ....... . ............... ..... 29

3. Types of Apparel CreaTed by Individual
Designers........................... ..... ....... ..... 38

4. MosT Popular Types of Apparel, Price Range
of GarmenT, and BesT Selling Price Range
of GarmenT by Individual Designers.......... ..... .... 40

5. MosT Popular Types of Apparel, Size Range,
and BesT Selling Size Range by Individual
Designers.... ..... . .......... . ....................... 4|

6. Seasonal Lines PresenTed by individual
Designers.. .................. . ..... . .......... . ...... 43

CHAPTER I

INTRODUCTION

STaTemenT 2: The Problem

 

The American designer has played an imporTanT parT in The
creaTion of American fashion and The developmenT of The apparel
indusTry in This counTry. The work of The designer is one of The
mosT crucial elemenTs in The complex of operaTions involving The
successful producTion of fashionable ready-To-wear. An examinaTion
of The meThods of creaTion, sources of inspiraTion, and producTion
and disTribuTion of fashion apparel would assisT in a deTerminaTion
of The role of The designer and an undersTanding of The conTribuTion
of The designer To American fashion.

The designers of fashionable wearing apparel have always
enjoyed a cerTain amounT of presTige in The fashion world. In The
early parT of The TwenTieTh cenTury American women depended upon The
French couTure for fashion leadership. The naTive designer deveIOped
wiTh The ready-To-wear indusTry in This counTry, buT individuals were
seldom acknowledged and mosT designers worked under firm names and

firm promoTions.I

 

IBernice G. Chambers, Fashion FundamenTals (Englewood
Cliffs, N. J.: PrenTice-Hall, Inc., I947), p. I59.

 

2

During World War II The UniTed STaTes was cuT off from Paris
and The influence of The French designers. American designers were
forced To develop Their own resources and To use maTerials imposed
by The governmenT. In spiTe of war-Time resTricTions, designers
became more creaTive. As sTaTed by Cain, "The years of The war wiTh
all Their resTricTions were a challenge more Than a handicap To
our designers."I NaTive fashion leadership developed and designers
began To make Truly American sTers. Since The Second World War
The American designer has conTinued To play an increasingly imporTanT
parT in The producTion of fashion apparel in The UniTed STaTes.
The American fashion indusTry has grown wiTh The work of a reiaTively
small buT imporTanT group of designers who creaTe, produce, and
publicize Their own fashions.

In spiTe of recenT acknowledgemenT of The creaTive
designer, There is a need for an undersTanding of The role and
conTribuTion of The American designers To The developmenT of con-
Temporary fashion. In The inTeresT of finding ouT more abouT The
American designer, an invesTigaTion of a selecTed group of creaTive
leaders was iniTiaTed.

This sTudy, cenTering around The American designer, is an
ouTgrowTh of a larger survey of regional apparel markeTs being in-

vesTigaTed aT Michigan STaTe UniversiTy. There has been considerable

 

IGerTrude Cain, The American Way 9:_Designing (New York:
Fairchild PublicaTions, Inc., I950), p. 9.

3

inTeresT in The designer and The creaTive ideas which underlie The
producTion of apparel. Golly included The designer in her sTudy of
The women's apparel indusTry in Dallas, Texas.' As parT of a sTudy
of The Michigan apparel indusTry in progress, Kilbourne invesTigaTed
The imporTance of The cusTom designer wiThin The sTaTe.2

This presenT exploraTion is focused upon The American designer
locaTed in The cenTer of The fashion indusTry, New York CiTy.3 Such
a direcTion supporTs Griffen in her research of selecTed regional
markeTs in which she suggesTs ThaT a "sTudy of The American designers,
Their biography, sTyle and meThod of design would make a conTri-

buTion much needed by The indusTry and college alike."4

 

lJeanne Marie Golly, "A STudy of The PresenT STaTus of The
DaHas Women's Apparel MarkeT" (unpublished MasTer's Thesis, DeparT-
menT of TexTiles, CloThing and RelaTed ArTs, Michigan STaTe Univer-
siTy, I966).

2Helen MargareT Kilbourne, "A STudy of a SelecTed Group of
CusTom Design Firms WiThin The Michigan Apparel lndusTry" (unpublished
MasTer's problem, DeparTmenT of TexTiles, CloThing and RelaTed ArTs,
Michigan STaTe UniversiTy, I966).

3JeanneTTe A. Jarnow and BeaTrice Judelle, Inside The Fashion
Business (New York: John Wiley and Sons, Inc., I965), p. 75.

4Tira W. Griffen, "A Survey of SelecTed Regional MarkeTs
Producing Women's and Misses' Apparel" (unpublished MasTer's Thesis,
DeparTmenT of TexTiles, CloThing and RelaTed ArTs, Michigan STaTe
UniversiTy, I949).

Review 9: LiTeraTure

 

 

While a considerable amounT of IiTeraTure concerning The
apparel indusTry exisTs, liTTle has been wriTTen abouT The designer
as a creaTive leader in The producTion of fashion apparel.

The leading Parisian designers of The I920's were menTioned
by NysTrom in his analysis of fashion economics.' During The
I930's and I940's American designers were encouraged To creaTe for
The ready-To-wear indusTry. Early documenTed books gave recogniTion
To American designers insTrumenTal in creaTing Typical American
fashions.2 ElizabeTh Hawes expressed her feelings as a creaTor of
fashions in her publicaTions. Hawes' firsT book was biographical

and explained her experience and Training for cusTomdesigning.3

 

lPaul NysTrom, Economics 2:_Fashion (New York: The Ronald
Press Co., I928).

2The reader is referred To:
Bernice G. Chambers, Fashion FundamenTals (Englewood Cliffs,
N. J.: PrenTice-Hall, Inc., I947).

 

M.D.C. Crawford, The Ways gi_Fashion (New York: G. P.
PuTnam's Sons, l94l).

GerTrude WarburTon and Jane Maxwell, Fashion For a_Living
(New York: McGraw-Hill Book Company, Inc., I939).

 

3ElizabeTh Hawes, Fashion i§_Spinach (New York: Random
House, I938).

5

In her IaTer books Hawes expressed a philosoply of fashion and
dress reflechve of her parTicipaTion in The ready-T0¢wear indusTry.l
Influenced by Flugel2 and Hurlock,3 Hawes adapTed ideas presenTed by
earlier wriTers as a basis for an inTerpreTaTion of American fashion.
Hawes summarized The comprehensive quaIiTies of fashion designing
in her sTaTemenT:

Dress designing is neiTher psychology nor

sociology nor economics. IT is noT an arT

nor a crafT nor a procezs of mass producTion.

IT Is all These ThIngs.

The IiTeraTure focused upon The designer has been direcTed

primarily To a young audience in search of career informaTion. An

appraisal of The opporTuniTies in The fashion indusTry was discussed

by Cain.5

 

lRefer To:
ElizabeTh Hawes, Men Can Take II_(New York: Random
House, I939).

 

ElizabeTh Hawes, Why i§_§_Dress? (New York: The Viking
Press, I942).

2.1. c. Flugel, The Psychology 9; CIoThes (London: The
HogarTh Press LTd., I950).

 

3ElizabeTh Hurlock, Psychology 9:_Dress (New York: The
Ronald Press Co., I929).

 

4ElizabeTh Hawes, Why _i_s__a_ Dress? (New York: The Viking
Press, I942), p. vii.

5GerTrude Cain, The American Way of Designing (New York:
Fairchild PublicaTions, Inc., I950).

 

6

ShorT biographical skeTches of The background and Training meThods
of prominenT designers was compiled in a publicaTion by The Fashion
Group.I

Books wriTTen by designers EdiTh Head,2 Anne FogarTy,3 and
Claire McCardeII4 show Their concern for promoTing good design and
TasTe in dress. Their books presenT advice for The care, planning
and selecTion of apparel by The average woman in everyday life.

RecenT books by Roscho5 and Fairchild6 are aimed aT The
general public and discuss The designer as an inTerpreTer of
fashion. Roscho presenTs a humorous accounT of The many aspecTs
of The garmenT indusTry in New York CiTy and The rigorous life of
The SevenTh Avenue designer. Fairchild focuses upon The selecT

group of women who influence fashion and The designers who creaTe

for Them.

 

lFashion Group, Inc. (ed.), Your FuTure in Fashion Design
(New York: Richards Rosen Press, Inc., I966). "

2EdiTh Head, How :2 Dress for Success (New York: Random
House, I965).

3Anne FogarTy, Wife Dressing (New York: Julian Messner
Inc., I959).

 

 

 

 

4Claire McCardell, WhaT Shall I Wear? (New York: Simon
and SchusTer, I956).

 

 

5Bernard Roshco, The Rag Race (New York: Funk and Wagnalls
Co., Inc., I963).

 

6John Fairchild, The Fashionable Savages (New York:
Doubleday and Company, Inc., I965).

 

7
The mosT currenT sources of fashion informaTion are found

in magazines and newspapers. However, The emphasis Is upon reporTing

and publishing The IaTesT sTyles of dress. The high-fashion

magazines, Vggue and Harper's Bazaar, feaTure expensive and advenTurous

 

fashions, buT IiTTIe informaTion is wriTTen abouT Their creaTors.
Fashion arTicIes which appear in The women's pages of newspapers
usually give The reader some insighT info The life and acTiviTies
of The designer. The mosT compleTe source of fashion news is found

in Women's Wear Daily, a Trade newspaper of The fashion indusTry.

 

Published five Times a week, The paper wields greaT influence and
seeks To promoTe designers, as well as Their fashions. InTerviews
are published which give The reader insighT info The lmporTance of
The American designer To The fashion apparel indusTry.

Jarnow and Judelle' realized The need for a publicaTion
offering The reader a pracTicaI view of The people involved in The
fashion business. ArTicIes from magazines, newspapers, and speeches
given before The fashion press by business leaders were compiled in
a book of selecTed readings. This comprehensive survey of The
fashion indusTry recognizes The designer as a major force in The

producTion of American fashion apparel.

 

|JeanneTTe A. Jarnow and BeaTrice Judelle, Inside The
Fashion Business (New York: John Wiley and Sons, Inc., I965).

 

 

8

Brockmanl focused her discussion upon The designer as The
iniTiaTor of The creaTive process of design. Her presenTaTion of
individual creaTors of fashionable dress was IimiTed To The French
couTuriers.

An iniTiaI sTudy of The sTer changes of French and
American designers was discussed in broad biographical Terms by
Murray. This sTudy, compleTed in I949, poinTed To The need for
furTher invesTigaTion inTo The role of The designer.2 Griffen, in
her survey of regional apparel markeTs compleTed in The same year,
also discussed The possible value of a special sTudy of American
designers.3

STudies of The apparel indusTry have been compleTed, buT
concenTraTed principally upon The developmenT and sTaTus of regional
markeTs ThroughouT The UniTed STaTes and conTained liTTle

informaTion abouT The designer. The fashion apparel indusTry in

Alabama was researched by Bourne.4 Goodman's sTudy of The California

 

lHelen Brockman, The Theory of Fashion Design (New York:

John Wiley and Sons, Inc., I965), pp. l-8.

 

 

2Maria Calbabrese Murray, "The DevelopmenT of French and
American Designers AffecTing CosTume of American Women of The
20Th CenTury" (unpublished MasTer's Thesis, College of Home
Economics, Syracuse UniversiTy, I949).

3Griffen, 93. ciT., p. 240.
4JudiTh MayTon Bourne, "An Analysis of The DevelopmenT of

The Fashion IndusTry in Alabama, l949—I962" (unpublished
MasTer's Thesis, Auburn UniversiTy, I962).

9

markeT discussed apparel and faciliTies in ThaT area.l Hersher
explored The Florida indusTry and formuIaTed general conclusions
abouT The presenT sTaTus and possibiliTies for fuTure developmenT.2

RecenT researchers of The regional markeTs have realized
The imporTance of The designer in The producTion of apparel.
Golly invesTigaTed The sTaTus of The Dallas markeT and included
The conTribuTion of The designer To SouThwesTern fashions.3
Kilbourne discussed The role of The cusTom designer in The sTaTe of

Michigan.4 Such sTudies emphasize The imporTance and conTribuTion

of The designer To The developmenT of The regional apparel markeTs.

DefiniTion g:_Terms

 

In The fashion world many Terms commonly used have specific
definiTions when applied To apparel. This sTudy cenTers around The
creaTor of fashion, The designer. The designer as defined by Picken,
”is one who designs a line of apparel by means of skeTches or in

maTerial or boTh."5 In This sTudy The Term designer also designaTes

 

lCharles S. Goodman, "The LocaTion of Fashion IndusTries
wiTh Special Reference To The California Apparel MarkeT", Michigan
Business STudies, Vol. X, No. 2 (Ann Arbor, Michigan: UniversiTy
Press, I959).

2Barry Jay Hersker, ”The Women's Apparel ManufacTuring
IndusTry in Florida" (unpublished DocToraI disserTaTion, The
UniversiTy of Florida, I954).

3Goiiy, o_p_. ciT., pp. 35-39.

4Kilbourne, gp. ciT., pp. 28-33.

SMary Brooks Picken, The Fashion DicTionary (New York:
Funk and Wagnalls Company, I957), p. 96.

 

 

l0
The person who selecTs and ediTs The sTyles which The firm produces.

The designer usually works for a house or dress house. The

 

Term house designaTes The firm or organizaTion making or disTribuTing

a line of wearing apparel.I The Term dress house refers To a

 

producer or disTribuTor of women's apparel for dayTime and/or evening
wear. Terms used To designaTe The designer and dress house in The
French fashion field are The following: couTure is a collecTive

Term describing The French dressmaking houses.2 A couTurier or

couTuriere is one who direcTs These esTainshmenTs.3

 

Many definiTions of fashion have been formulaTed in

accordance wiTh needs of inTerpreTaTion and usage. One inTerpreTaTion
of fashion is ThaT:

Fashion is The characTerisTic expression or

TasTe in CloThing which is accepTed and shared

by The majoriTy of people aT a parTicular Time

and is subjecT To ceasless change wiThin The

bounds of cusTom over a period of Time.4

Fashion is applied To apparel Through The use of The Term fashion

apparel which refers specifically To apparel in which The fashion

 

Ibid., p. I80.

2IpicI., p.85.

 

4Elinor RoTh NugenT, "The RelaTionship of Fashion in Women's
Dress To SelecTed AspecTs of Social Change from I850-I950"
(unpublished DocToraI disserTaTion, Louisiana STaTe UniversiTy and
AgricuITural and Mechanical College, BaTon Rouge, I962), p. l7.

II
elemenT is a predominaTe characTerisTic and in which change is so
rapid ThaT iT is imperaTive To keep up wiTh These fashion changes.
Apparel iTseIf refers To cIoThing and oTher manufacTured arTicIes
produced for wearing.
Types of producTion wiThin The fashion indusTry vary sufficienle
ThaT specific Terms are used for idenTificaTion. The Terms apparel

indusTry and garmenT indusTry include The complex of enTerprises cone

 

cerned wiTh The design, producTion, and disTribuTion of wearing apparel.
When The fashion elemenT is a predominaTe characTerisTic, These

enTerprises are referred To as The fashion indusTry or fashion

 

business. Mass-producTion refers To The producTion of goods in

 

quanTiTy, many aT a Time, as opposed To one aT a Time.' The Term

ready-To-wear refers To apparel which is mass produced as opposed To

 

apparel made To a cusTomer's special order.2 SevenTh Avenue is The

 

IocaTion of The cenTer of The garmenT indusTry in New York CiTy, buT
is also used as a synonym for America's ready-To-wear indusTry.3 In

addiTion, apparel is creaTed on an individual basis. CusTom apparel

 

is creaTed for a IimiTed number of persons. The cusTom designer

 

designs and creaTes for an individual clienT eiTher Through measure-

menTs or by consulTaTion and fiTTing.

The creaTions of The designers are designaTed in various ways.

 

IJarnow and Judelle, _o_p_. ciT., p. 264.
Zlbid.

3Ipid.

_

I2
In The apparel indusTry, slylg_refers To Type of silhoueTTe, fabric,
color or decoraTion of a garmenT which disTinguishes iT from anoTher
Type of garmenT. In This sTudy £1113 also refers To fashion feaTures
which disTinguish an arTicIe or group of apparel iTems. The Term

line is a collecTion of sTyles shown by an apparel producer, while

a collecTion refers To all apparel exhibiTed aT any one fashion
showing.2

In This sTudy apparel is loosely classified inTo caTegories

indicaTing day or evening wear. General dayTime wear includes

 

dresses, suiTs, coaTs and ensembles. This caTegory includes
sporTswear, a more casual sTer of skirTs, dresses, suiTs, coaTs,

and ensembles. Evening wear designaTes cIoThes for "afTer five"

 

wear. In This sTudy This Type of apparel is considered To be dresses
and ensembles, worn for informal or formal evening occasions. Some
collecTions include lingerie iTems such as slips, nigthowns, pajamas,

robes and ensembles.

lmporTance gf The STudy

The American designer has been recognized as an imporTanT
facTor in The developmenT of The apparel indusTry, buT IiTTIe is

known abouT The personal expression and influence of The designer

 

'lbid.

 

2Picken, 3p. ciT., p. 76.

I3

upon American fashion. This sTudy proposes To explore The sources
of inspiraTion, The meThods of creaTion, and The conTribuTion of
American designers To American fashion.

IT is hoped This invesTigaTion will gaTher and presenT
informaTion which will be helpful in undersTanding The role of
The designer in American fashion. Also, This sTudy could be uTiIized
as a basis for fuTure invesTigaTions of The creaTiviTy of The

producers of fashionable dress.

CHAPTER II

METHODOLOGY

The designer was considered To be The besT source of
informaTion concerning The creaTion of American fashions. RepresenTaTive
designers of prominence in The American fashion field could give
reliable informaTion regarding The work of The designer of fashionable
apparel. The designers could also give personal impressions and
expressions of opinion which would give some insighT inTo The role
of The designer. In This way some deTerminaTion of The influence

of The designer could be made.

SelecTion 91_The MeThod

 

AfTer careful analysis of procuremenT devices used by
researchers of similar sTudies, The direcT inTerview Technique
was chosen for This descrlpTive research. According To SelITiz,
The direcT inTerview offers greaTer flexibiliTy and provides The
inTerviewer a beTTer opporTuniTy To mainTain compleTe conTrol of
The conTenT areas of The inTerview by seTTing up The framework and
redirecTing The inTerviewee's responses To keep Them wiThin The

desired sTrucTure.I

 

IClaire SeIITiz e:_al:, Research MeThods ig_$ocial RelaTions
(New York: HolT, RineharT and WTnsTon, I965), p. 242.

 

I4

I5
STudies conducTed by direcT inTerview have an addiTionaI advanTage
over sTudies conducTed by mailed quesTionnaires in ThaT many
peeple respond more To personal inTeresT and are able To cooperaTe

in a sTudy IimiTed To verbal responses.I

DevelopmenT gf_The InsTrumenT

 

 

In developing The insTrumenT, consideraTion was given To
various meThods of approaching Those selecTed for inTerviews. The
uTiIizaTion of fixed-alTernaTive quesTions as recommended by Golly in
a similar sTudy was considered. Since This presenT research involves
a small number in The selecTed group, This Type of quesTion was
abandoned in favor of open-ended quesTions. Such quesTions could be
designed To permiT a free response from The subjecT. As sTaTed
by SeIITiz, "The disTinguishing characTerisTic of open-ended quesTions
Is ThaT They merely raise an issue buT do noT provide or suggesT
any sTrucTure for The respondenTs reply; The respondenT is given The
opporTuniTy To answer in his own Terms and in his own frame of
reference."2

In an aTTempT To increase reliabiIiTy The wriTer conducTed

sTandardized inTerviews wiTh a fixed seT of predeTermined quesTions.

Similar circumsTances were mainTained as much as possible and rapporT

 

'ibid., p. 24I.

2ibid., p. 257.

l6
was esTainshed by The use of non-direcTive probes. The inTer-
viewer made a verbaTum record of The replies.'

The inTerview schedule was divided inTo four parTs: The
firsT parT soughT To obTain informaTion abouT The designer's
background, Training, and experience; The second parT was designed
To gain insighT inTo The role of The designer wiThin The firm; The
Third parT concerned The Type of apparel designed and lTs promoTion
and disTribuTion; The final parT asked for The designer's opinion
of his conTribuTion To The American fashion apparel indusTry (see
Appendix A).

The TenTaTive inTerview schedule was developed and Then
submiTTed To colleagues for criTicism. SuggesTions were uTiIized
and refinemenTs were made in The insTrumenT To convey The inTended
inTerpreTaTions.

To check The validiTy of The insTrumenT and To gain
experience in iTs adminisTraTion, The inTerview schedule was
preTesTed by Two prominenT designers in New York CiTy. As a resulT,
some of The quesTions were simplified To allow for greaTen clariTy
and logical flow of informaTion. The inTerviewer formulaTed a
sTandard meThod of procedure which was IaTer employed when conducTing

The inTerviews.

I7

SelecTion gj_The RepresenTaTive Designers

 

Since The majoriTy of America's ouTsTanding fashion
designers work in New York CiTy, The selecTed group was drawn from
a lisTing of prominenT American apparel designers locaTed There.l

The researcher wroTe for appoinTmenTs and inTerviewed Two
eminenT fashion auThoriTies, Eleanor McMiIIen and Eleanor LamberT,
for a suggesTed IisT of American ready-To-wear designers (see Appendix
B). McMiIIen is The execuTive direcTor of The Fashion Group, a
non-commercial organizaTion of women acTive in The many branches of
The fashion business.2 LamberT is a fashion publicisT, and founder
of The CouTure Group, a New York Trade associaTion of esTainshed
dress manufacTurers.3

IT was recommended ThaT The selecTed group be drawn from
The Council of Fashion Designers of America. (see Appendix C). The
council was organized To work as a group and IimiTs iTs membership
sTricTIy To individuals known for Their creaTive force wiThin a
fashion firm. ITs charTer sTaTes as lTs purpose; "To furTher The
posiTion of fashion design as a viTaI aspecT of American cuITure,

To esTainsh and mainTain a code of eThics and pracTices in pro-

fessional, public and Trade relaTions, and To promoTe and improve

 

IJarnow and Judelle, 93, ciT., p. 56.
2Ibid., p. 263.

3Ibid., p. 663.

l8

public undersTanding and appreciaTion of The fashion arTs Through
group leadership in qualiTy and TasTe."I The council represenTs The
designers mosT influenTial in presenT-day fashion.

FifTeen designers of women's apparel were selecTed from
The council members. Ten designers were designaTed as firsT choices;
and five as alTernaTe possibiliTies. LeTTers requesTing personal
inTerviews were senT To The chosen designers (see Appendix D). Two
of This group were noT available for inTerviews; so Two designers
from The alTernaTe group were subsTiTuTed.

The Ten designers who granTed appoinTmenTs were inTerviewed
by The wriTer aT Their New York firms (see Appendix E). QuesTions
were asked and responses recorded in eiTher showrooms or offices

designaTed by The designers.

MeThod gI.PresenTaTion

 

For The purposes of This sTudy, The informaTion gained from
The inTerviewee's replies has been summarized and presenTed in
descrIpTive form. Some of The responses, especially Those To The
open-ended quesTions, were analyzed in relaTion To The significance
of The work of The designer. This compilaTion of informaTion from
The designers forms a basis for an esTimaTion of The conTribuTion of

The American designer To conTemporary fashion.

 

IEleanor LamberT, Council gf_Fashion Designers gf_America,
Press Release (New York: By The AuThor, I965).

 

CHAPTER III

Training, Experience and AccomplishmenTs
9: American Designers

 

 

American designers are creaTive individuals who come inTo The
fashion field from wide and varid backgrounds. IT has been noTed
ThaT designers may have received Training in areas ranging from
maThemaTics, engineering and archiTecTure To The fine arTs. The
selecTed group of designers inTerviewed for This sTudy, however,

did noT show as much diversiTy in Their educaTional and experienTial

backgrounds as mighT have been expecTed.

EducaTion and Training

 

The educaTionaI achievemenT level of The selecTed designers
ranged from high school To The compleTion of arT school. EighT of
The group eiTher aTTended or graduaTed from an arT school. One
aTTended a liberal arTs college and one had no formal Training beyond
high school. The majoriTy of The designers had a sTrong arT back—
ground. The major program emphasis in arT school was noT dressmaking,
buT a varieTy of courses including fashion illusTraTion, commercial
illusTraTion, design, skeTching and The fine arTs. Four designers
enTered arT school wiTh ambiTions of becoming designers and were able

To fulfill Their aspiraTions. Two lnTerviewees sTudied sTage design,

20
while Two oThers concenTraTed on commercial and fashion
illusTraTion. The majoriTy of This group worked parT—Time during
This period To gain pracTical experience in designing. DifferenT
Types of professional courses were Taken by The designers who in many
cases were Trained In more Than one area. The professional Training
courses Taken by The designers are shown below:

Professional Training Courses:

Number gf_0esigners

SkeTching 8
Fashion illusTraTion 3
Draping 2
STage design 2
Commercial illusTraTion I
Design I
Drawing I

HisTory of cosTume I

All of The designers who aTTended arT school Took skeTching
courses which were basic for all areas of inTeresT. When asked
which courses were The mosT valuable, The members of The group
agreed ThaT Their skill developed in courses in skeTching was Their
greaTesT asseT in IocaTing a firsT job. They indicaTed a conTinued

use of Their Training in skeTching.

2|

Experience

Each of The selecTed designers indicaTed ThaT They had SpenT
years in The indusTry before achieving recogniTion and fame. The
ToTal years of experience ranged from 25 To 42. All of The selecTed
group members agreed ThaT Their work experience was essenTial To Their
fuTure achievemenTs.

Of The four inTerviewees who aspired To becoming designers
aT The Time of Their enrollmenT in arT school, Two sTarTed as
skeTchers, and Two sTarTed as assisTanT designers for women's apparel
manufacTurers. One who sTarTed as an assisTanT designer Trained
and conTinued as The designer in her family's apparel business.

OThers worked in relaTed fashion fields such as commercial and

fashion illusTraTion before becoming designers. Two designers

sTarTed Their careers as saleswomen for women's apparel manufacTurers;
such beginning posiTions gave opporTuniTies for observaTion of
designers aT work. Beginners, who were able To offer suggesTions

and improvemenTs in designs, were recognized by managemenT as having
sufficienT creaTiviTy and skill To be promoTed To posiTions as designers.

The majoriTy of designers Trained in New York CiTy and
worked for well known apparel manufacTurers. Each considered a
period of apprenTiceship Their mosT valuable experience. One designer
Trained in her family's Tailor shop in Paris where she learned all
meThods and Techniques for consTrucTing apparel. LaTer in America,

a period of apprenTiceship wiTh a prominenT designer preceeded her

own business venTure.

22
One lnTerviewee Trained in Hollywood as a sTage designer, and
IaTer moved To New York CiTy To work as a skeTcher and designer
in a well known dress house. The designers Took advanTage of
various job experiences and had no planned approach To Their careers.
Every designer agreed ThaT a compleTe apprenTiceship was needed To
perfecT Technical Training. All sTressed The need for Thorough
knowledge of all aspecTs of The fashion business. In addiTion To
creaTive work, designers feIT a necessiTy for observaTion and sTudy
of The producTion, promoTion and disTribuTion of apparel; since all
These areas conTribuTe To evenTual success.

The imporTance of The designer is exemplified by The facT
ThaT all of The members of The selecTed group hold managemenT
posiTions in Their firms. Five are owners of Their firms, four
are parTners, and one is a vice-presidenT. Aside from The owners,
all The inTerviewees sTarTed as designers and were promoTed inTo
high managemenT posiTions.

The designers included in This sTudy creaTe garmenTs for
differenT Types of apparel manufacTurers. MosT of The designers
work for dress houses specializing in dayTime and evening wear.

One designs sporTswear and one creaTes designs for lingerie. A new
approach To designing was esTainshed by an ex-designer of junior
dresses when she recenle esTainshed a design sTudio. Under her

own name she designs an apparel line, and acTs as a design consulTanT

23
To commercial and indusTrial accounTs. Her accounTs are diverse
and Include a varieTy of producTs such as Toys and games, linens,
paper producTs, and household gadgeTs. These accounTs are handled
on eiTher a parT-Time or free-lance basis. Some members of The
group had designed for oTher firms, buT had found iT Too Time
consuming. Of The Three designers ThaT have ouTside affiliaTions,
Two do free-lance designing occasionally. One designer creaTes
children's cloThes and one designer designs lingerie and foundaTion
garmenTs. The oTher designer works parT-Time for differenT firms
which aTTach The designer's name To a varieTy of iTems such as
children's cloThes, lingerie, accessories, raincoaTs, furs, and
men's fashions.

As designers receive recogniTion Their names are used To
publicize apparel. One way To perceive The posiTion and imporTance
of designers is by The use of names on apparel labels. Designers'
names are usually included wiTh The firm name if boTh are equally
well known. The following names appear on garmenT labels:

Use of Names on Labels:

mam

Firm name and designer name 4
Designer and firm name The same 3
Designer's name 2
Firm name I

 

ToTaI IO

 

24
All excepT one of The selecTed group have Their own names on The
labels of The garmenTs They design. In Two cases, The firms
preferred To publicize The designer's name alone. Only one
designer's name did noT appear on The label. However, This was
by choice since The designer owned The firm and preferred To use
The firm's name.

In The apparel indusTry There are numerous ways in which
creaTive TalenT is recognized. Membership in professional
organizaTions is an acknowledgmenT of parTicipaTion in The fashion
field. Fashion awards are granTed To designers who are ouTsTanding
and conTribuTe ideas and sTimulus To fashion.

All of The selecTed group are members of The mosT esTeemed
professional organizaTion, The Council of Fashion Designers of
America. This is a naTlonal honorary socieTy of creaTive leaders
in The various fashion fields. Membership in The organizaTlon is IimiTed
To individuals known for Their creaTive force wiThin a fashion firm.
All of The women inTerviewed belong To The Fashion Group. This is a
women's organizaTion esTablished in l93l which now has abouT Three
Thousand members. RequiremenTs are rigid, Three years acTuaI
experience in some phase of The fashion field is requisiTe, and There
musT be a record of acTual achievemenT.

Fashion awards are granTed by firms and organizaTions
inTeresTed in promoTing fashion and recognizing specific individual

achievemenTs. The mosT prized award is The CoTy Fashion CriTics'

25

Award. This award was esTablished in I943 by CoTy, Inc., The
cosmeTic manufacTurer. A selecTed group of New York fashion ediTors
and wriTers selecT designers whose work in The proceeding year has
been The mosT disTincTive and original. The oldesT award is The
American Design Award which was sTarTed in I937 and sponsored by
Lord and Taylor, The New York deparTmenT sTore. Four awards were
presenTed annually To four American ciTizens who made noTable
conTribuTions To fashion. The awards were disconTinued in The laTe
I940's. The Neiman Marcus Award is presenTed annually by The Texas
specialTy sTore To persons who have made an ouTsTanding conTribuTion
To The fashion field.

Of The group selecTed for sTudy, four designers received
The Neiman Marcus Award, Three The CoTy Fashion CriTics' Award, and
Two designers were awarded a place in The CoTy Hall of Fame.
EligibiIiTy for The Hall of Fame is dependanT upon receiving The
CoTy Award Three Times. This honor is achieved by a very IimiTed
number of creaTors of original fashions. The oTher fashion awards

are disTribuTed among The group as follows:

26

Fashion Awards:

Number gi_Designers

Neiman Marcus Award 4
CoTy Fashion CriTics' Award 3
lnTernaTional Silk Venice Award 3
NaTional CoTTon Council Award 3
American Designer Award 2

Camellia Award
(Loveman's DeparTmenT STore) 2

CoTy Hall of Fame Award 2

Designer of The Year Award
(Fashion Shipping ManufacTurer's Guild) l

Glamour Magazine Award l
Filene's DeparTmenT STore Award l
Harper's Bazaar Medallion of RecognizaTion I
Mademoiselle Magazine Award l
NBC Today Show Fashion Award l

Parson's School of Design
Medal of AchievemenT |

Philadelphia CrysTal Ball Award I
Philadelphia Fashion Group's Award l

SporTs lllusTraTed Magazine Award I

Members of This group of designers have won every major
fashion award. Many have received addiTional awards; buT Those IisTed
above were menTioned by The designers when inTerviewed, and are

held in highesT esTeem by The group.

27

Summary

The educaTion, Training and experience of The designers
selecTed for sTudy indicaTe There are variaTions in some back-
ground facTors buT similariTies in experiences leading To Their
success as recognized designers.

The personal experiences which were indicaTed as being
significanT by The inTerviewees are summarized in Table I so ThaT
The characTerisTics of each designer's background can be examined.

Table 2 presenTs iTems significanT in an appraisal of The
posiTion of The designers selecTed for sTudy. These designers
represenT an experienced group presenle in high managemenT posiTions
which are The resulT of success and achievemenTs recognized by

awards in The fashion field.

28

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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CHAPTER IV

INSPIRATIONAL SOURCES AND CREATION
OF FASHION APPAREL

American designers are The creaTors, innovaTors and
inTerpreTaTors of American fashions. Many differenT meThods of work
are used by designers and inspiraTions come from a varieTy of
sources. The designer is responsible for an inTerpreTaTion of fashion
and deTecTion of fashion Trends which will be reflecTed in boTh

presenT and fuTure apparel.

Sources gf_Designs

Each designer has his own meThods of work leading To The
creaTion of new designs. Sources of inspiraTion, design influences,
and Type of apparel vary as The designer's creaTions respond To The
demands of his cusTomers.

When asked QuesTions concerning sources of design ideas,

(see quesTion I3, Appendix A) inTerviewees indicaTed The inspiraTional
sources which were mosT helpful. The sources used mosT frequenle

were:

30

3|

Sources of lnspiraTion:

Number‘gf.Responses

lnsTincTive creaTiviTy as
reflecTive of personal experience 6

CusTomers 5

Awareness and observaTion of

conTemporary life 4
Travel 3
Fabric 2

TheaTer, movies, plays I

AlThough inspiraTional ideas were many and varied, The
majoriTy of designers considered personal experience, cusTomers,
and an awareness of conTemporary life The mosT imporTanT sources
of inspiraTion used as a basis for designs.

When each of The designers was asked To sTaTe The greaTesT
influence upon his designs, a designaTion of one influence was

difficulT. The mosT imporTanT influences menTioned were:

GreaTesT Influence Upon Designs:

Number 91_Designers

CusTomers 3
Fabric 2
Travel I

Design, line, cuT I

UncluTTered movemenT in
relaTion To acTiviTies I

No specific influence 2

ToTal l0

 

32

Two designers could noT designaTe The greaTesT influence
upon Their work, buT for The remainder of The group, cusTomers
and fabrics were menTioned as having The greaTesT influence upon
Their designs.

IT is inTeresTing To noTe ThaT The members of The sample
did noT menTlon European couTure collecTions and designs as sources
of inspiraTion. However, five of The group regularly aTTended The
European couTure seasonal showings in Paris. Recenle designers
have also aTTended showings in lTaly and BriTain. Of Those designers
who did noT aTTend The European collecTions, Two expressed inTeresT,
buT were opposed To The high enTrance fee. Currenle The enTrance
fees for viewing The opening showings range from one To four
Thousand dollars; however, purchases are deducTed from This amounT.
MosT of The group felT ThaT iT was no longer necessary To aTTend
The European collecTions since rapid communicaTion made fashions and
inspiraTional maTerials immediaTer accessible. Two in The group
emphaTically declared ThaT They had never aTTended European showings
and never would. Of Those designers who aTTended The openings, all
purchased models To use as a basis for adapTaTion. The selecTed
designers expressed The opinion ThaT The European designers were
less imporTanT Than They used To be. MosT of The selecTed designers
agreed ThaT American designers have surpassed The Europeans and do

noT depend upon Parisian collecTions for inspiraTional maTeriaI.

 

33

Designers menTioned ThaT Their percepTion of Trends reflecTed
Their own sources of inspiraTion. Personal experiences such as
Travel, viewing films, reading and observaTion of European
collecTions were especially imporTanT. Some designers emphasized
The facTors of awareness and a "keen eye". OThers feIT ThaT
sTudying fabrics was imporTanT, and some expressed The idea ThaT
design Trends jusT "hiT you". One designer was inspired by The
accepTance of new designs by fashion leaders.

When asked in whaT way Trends affecT Their own designs,
(see quesTion l2, Appendix A) respondenTs conveyed Their individual
inTerpreTaTion of Trends. The designers made sTaTemenTs such as:
"I consTanle change designs To move wiTh Trends," "noT parTicularly
sensiTIve To new Trends, has To look righT," "have To feel Them
myself, Then inTerpreT," and "adapT Trends To my own needs." The
dominanT reacTion seemed To be ThaT designers had individualisTic
ways of deTecTing and responding To Trends. One designer sTaTed,
”I sTay in fashion, noT ahead;" anoTher said, "Trends do noT
dynamically affecT my designs, I am noT a faddisT." Designers
expressed a feeling for Trends raTher Then an InTerpreTaTion which

could be specified or puT inTo words.
MeThods 9f_CreaTion

The Techniques by which designers work To develop Their
collecTion differ. Of The designers included in This sTudy, Two

execuTed The compleTe garmenT, while The oThers had assisTance.

34
EighT of The designers indicaTed skeTching as a meThod of iniTiaTing

Their designs. Six draped in fabric and Three draped in muslin.
Only one designer used The flaT paTTern Technique.

The designer mainTalns a posiTion as head of The design
room where The sample models are creaTed. The number of employees
in The design room vary, depending upon The size of The collecTion
and The amounT of assisTance The head designer requires. The

greaTesT number of assisTanTs are classified as sample hands who

 

work wiTh The designer and are responsible for cuTTing and con-
sTrucTing The sample garmenTs. The majoriTy of The selecTed
designers are assisTed by associaTe designers, assisTanT designers,
or skeTchers. Young graduaTes of design schools usually sTarT

as skeTchers, and wiTh experience work up To designer posiTions. Of
The selecTed group, only Two designers compleTely consTrucTed and
execuTed Their design ideas wiTh The aid of sample hands. In some
firms The sample hands cuT and make sample garmenTs. In oThers,
These employees are supplemenTed by cuTTers, Tailors, drapers,
fiTTers, and hand finishers. PaTTern makers usually drafT The sample
paTTerns.

MosT of The workers in The design rooms are European or of
European descenT. Many are of French, lTalian, Russian or
Czechoslovakian background and Trained To excell in Technical skill.
In many cases The workers specialize in Techniques used for eiTher

Tailored coaTs and suiTs or The consTrucTion of dresses.

35-

Some designers work closely wiTh Their sTaff, while oThers
do noT. MosT designers work Through rough skeTches which are given
To Their assisTanTs To develop. One considers herself an ediTor of
design ideas. She sTaTes, "I verbally convey my ideas - my designers
lay ouT The plans and geT The layouTs and muslins ready."

Many designers expressed The opinion ThaT The role of The
designer is ThaT of a creaTor and InTerpreTer of ideas. IT is noT
always necessary for The designer To know and execuTe The Techniques
involved in making sample models; These are The responsibiliTy of
The design room sTaff. The designers feel There is noT enough Time
To develop and execuTe Their ideas Themselves, in view of The many
oTher acTiviTies requiring aTTenTion when supervising a business.

Sample models are ediTed carefully by head designers before
being senT To producTion deparTmenTs. Only one designer in The
selecTed group, The highesT-priced in The UniTed STaTes, has a
combined facTory and sample room operaTion. The oTher firms all
manufacTure apparel in facTories locaTed away from The ciTy. The
designers supervise producTion by ediTing and selecTing The final
garmenTs To be shown in Their collecTions. Some numbers may be
dropped, and oThers may be reworked To beTTer porTray The original

idea The designer wished To creaTe.

36

Summary

The designers in This sTudy indicaTed Their individual
sources of inspiraTion and influence upon Their designs. MosT
imporTanT were The personal expressions of The designers Themselves,
and The cusTomers for whom They design.

MeThods of creaTion varied wiTh The designers, buT each
firm employed a compeTenT sTaff To execuTe The ideas of The head
designer. Many designers funcTioned as creaTors and inTerpreTers
of ideas. Being responsible for The collecTions, The designers

supervise, selecT, and ediT The apparel lines which are produced.

CHAPTER V

Types, PresenTaTion, and DisTribuTion
gf_Fashion Apparel

 

 

 

American designers creaTe a varieTy of apparel Types in
price and size ranges suiTed To Their cusTomers who reflecT The ideal
of The conTemporary American woman. Seasonal presenTaTions are
feaTured by The designers as parT of The disTribuTion and promoTion
of individualisTic designs. MosT designers consider Their work a
deflniTe conTribuTion To The promoTion and developmenT of The

American fashion apparel indusTry.

Apparel Types

 

Types of apparel are divided inTo Three major caTegories
TiTled: General DayTime Apparel, Evening Apparel, and Lingerie, as
shown in Table 3. General dayTime apparel refers To day wear and
includes dresses, ensembles, suiTs, and coaTs. In This sTudy,
sporTswear is included in This caTegory and refers To more casual
forms of dress. CoaTs, suiTs, ensembles, dresses, and skirTs suiTable
for informal wear are grouped as sporTswear. Evening apparel is
suiTable for wearing afTer five o'clock, for informal or formal
occasions. Informal wear refers To shorT garmenTs worn for dinner

and cockTails; formal wear is for formal occasions. In This sTudy

37

38
lingerie refers To nighTwear such as nigthowns, pajamas, robes
and ensembles. The Types of apparel creaTed by individual designers

are shown in Table 3.

TABLE 3.--Types of apparel creaTed by Individual designers

 

 

 

Apparel Types Individual Designers

 

       

 

 

 

 

 

 

 

 

 

 

 

 

i I II III IV V VI VII VIII IX X
i T i l l T i i II
I. General DayTime . I i . I i i l l l
A. Dresses ‘ I X X ' X I X ‘ X
a &HS—-:—:::: -
6 mm{::_ _____
D. Ensembles____ _
E. SporTswear __ ..-
l Dresses ______
2 SuiTs __
3 CoaTs-—:- .-
4.Emmfi&_::"-
5. SkirTs_____::
II. Evening
A. Informal
l. CockTail and .
dinner dress X.i X i X X . X X X
2. CockTail and T' l ‘T
dinner ensemble__ XI X I X X X X X
B. Formal T I
I. Evening dresses ng x I x x x x x
2. Evening ensembles: x1 XI x x x x x
l I
III. Lingerie I
A. Nigthowns ______ L LgX ,
B. Pajamas T : X I
C. Robes -------- T{ .I X a ' I
o. Ensem6l3$:::::::g i 7x; I !

 

 

 

 

 

 

39
The majoriTy of designers creaTe designs for boTh general

dayTime and evening apparel. Dresses and ensembles were menTioned

mosT frequenle as specific garmenTs made for dayTime wear. SporTs-
wear, considered wiThin The general dayTime caTegory, was The specialTy
of Two designers; dresses were mosT ofTen menTioned as making up The
sporTswear line. CockTail and dinner dresses were menTioned mosT
frequenle as being designed for evening wear. The mosT imporTanT

lingerie iTems were nigthowns, followed by ensembles and robes.

ReTail Price Range

 

Each designer produced apparel wiThin a wide price range buT
could separaTe ouT a IimiTed price range for besT selling iTems.
Dresses were The besT selling iTems for nine of The selecTed group,
buT one designer menTioned nigthowns as mosT popular in sales.
Dresses were priced from $50 for a sporTsdress To $4,000 for a formal
evening gown. The IimiTed price range menTioned was from $50-$99 To
$750-$799 for dresses in The general dayTime caTegory. Individual
designers indicaTed Their price range and The besT selling price range

for Their mosT popular Types of apparel in Table 4.

TABLE 4.--MosT popular Types of apparel, price range of garmenT and besT selling

40

price range of garmenT by individual designers

 

 

Individual Designers

—_

Types of Apparel

Price Range

BesT Selling Price Range

 

| Dress $|00-$ 300 $l00-$l49

ll Dress $325-$4,000 $750-$799
lll Dress $ 50-$ 75 $ 50-$ 60
IV Nigthown $ 25-$ 65 $ 25-$ 49

V Dress $|OO-$2,000 $200-$249

Vl Dress $l95-$ 700 $200-$249
Vll Dress $200-$3,ooo $250-$299
Vlll Dress $ 50-$ I65 $ 50-$ 99
IX Dress $ 70-$ I95 $|00-$l49

X Dress $l00-$|,200 $250-$299

Considering The besT selling price range for The mosT popular iTems of
all designers; The majoriTy menTioned besT selling prices beTween $50 and $299.
The compleTe range indicaTes a spread from $25 To $799. The following shows

The range given by all of The designers:

BesT Selling Price Range
For MosT Popular Apparel lTems:

Number 9: Designers

$ 25-$ 49 l
$ 50-$ 99 2
$|OO-$l49 2
$|50-$l99 ...
$200-$249 2
$250-$299 2
$300-$349

$350-$399

$400-$449

$450-$499

$500-$549

$550-$599

$600-$649 ...
$650-$699 ... l
$700-$749 ...
$750-$799 l

ToTal l0

4|

Size Range

 

The size range produced by The selecTed designers includes Misses
sizes four To 20. However, only one designer makes a size four, and The
Two designers who make up To a size 20 sTaTed ThaT They made very few numbers
in sizes above I6. Individual designers indicaTed Their size range and besT
selling sizes of Their mosT popular Types of apparel in Table 5.

TABLE 5.--MosT popular Types of apparel, size range, and besT selling size
range by individual designers

 

 

 

Individual Designers Types of Apparel Size Range BesT Selling Size Range
I Dress 6-I6 8-I4
II Dress 6-l6 8—I2
lll Dress 6-l8 8-I4
lV Nigthown pTe./sm./md. pTe./sm.

V Dress 6—l6 8-l0
VI Dress 6-20 8-l4
VII Dress 6-20 8-l4
Vlll Dress 4—I4 6-l0
IX Dress 6-I6 8-I2
X Dress 6-l4 8—l2

The besT selling ranges ilIusTraTe The Trend Toward concenTraTion in

The 8—l2 and 8—l4 size ranges. Designers sTaTed ThaT Their average cusTomers
were wearing smaller sizes since currenT emphasis is placed upon slimmer

figures.

 

42

CusTomers

The designers were asked abouT The ideal woman for whom Their
designs are creaTed. In response To The quesTion, "whaT Type of
person do you design for?" (quesTion 9c, Appendix A) each of The
designers could describe a definiTe Type of woman. As a group, They
design for women who are youThfuI, noT necessarily in age, buT in

aTTiTude and approach To life. ConTemporary women who lead busy,

 

inTeresTing lives and like To Travel are The designer's besT cusTomers.
A generally discerning individual who is cuITured and prosperous buT
has oTher inTeresTs besides cloThes is a favoriTe Type. The answers
included many inTeresTing sTaTemenTs such as: "A young sophisTicaTed
maTron who already has her firsT child;" and ”An undersTaTed, sensible
woman, helping her husband advance in his career." More specific
replies were also given, for example, "I design for my Three ideal
cusTomers: Tawny blondes of average heighT, married, have children,

Travel, like or live in boTh Town and counTry."

PresenTaTion 9j_Apparel

 

Seasonal Lines

 

TradiTionally The producers of women's apparel have four
basic seasonal lines: Fall/WinTer, Holiday/ResorT, Spring and Summer.
AlThough The producTion of apparel is geared To These lines, The
apparel designed is noT IimiTed To These seasonal appearances. One

designer creaTes a TransiTional line To be shown in place of a Summer

43
line. This represenTs a showing in beTween The basic seasonal lines
and a deparTure from The basic lines. The schedule of seasonal lines

IisTed for The individual designers is presenTed in Table 6.

TABLE 6.--Seasonal lines presenTed by individual designers

 

 

Designer Seasonal Lines
Fall7WinTer ResorT/Holiday Spring Summer

 

 

 

 

 

 

 

 

 

 

I X X X X
ll X X

III X X X X
IV X X

V X X X X

VI _ X X X X

VII X X X X
Vlll X X X
IX X X X

X X X X

 

The findings reporTed in Table 4 indicaTe ThaT all of The
selecTed group of designers showed boTh Fall/WinTer and Spring lines.
Seven of The selecTed group menTioned ThaT The Fall/WinTer line is
The mosT imporTanT To Their firms, followed by The Spring line. The
group agreed ThaT The Fall/WinTer line is mosT imporTanT because of
iTs volume. OThers menTioned The emphasis during This season on
social life which demanded a more exTensive wardrobe; oThers

aTTribuTed volume To The lengTh of The season. The Fall/WinTer line

44

is considered by all designers To be The mosT Trend-seTTing line. The
lingerie designer felT ThaT her Fall/WinTer and Spring lines were equal
in volume. A designer who is well known for her summer dresses con-
sidered her Spring and Summer lines The mosT imporTanT in volume.

All of The selecTed group agreed ThaT There is a Trend away
from seasonal fabrics due To increased Travel and mobile living. Many
of The designers have found ThaT versaTile Travel and resorT cloThes

are becoming more imporTanT in Their lines.

Designers' CollecTions

 

Seasonal lines, when They are exhibiTed by The designer aT a

fashion showing, are Termed collecTions. All of The designers in The

 

selecTed group, excepT one, presenT collecTions aT fashion shows in
Their SevenTh Avenue showrooms for The press and buyers. Members of
The New York press, ediTors of fashion magazines, and represenTaTives
of fine deparTmenT and women's specialTy sTores aTTend The opening
collecTions.

The majoriTy of designers have a preview show IimiTed To The
ouT-of—Town press. The designers who are members of The New York
CouTure Group, inviTe some Three hundred newspaper fashion ediTors To
preview The Fall/WinTer and Spring collecTions. No privaTe cusTomers
are inviTed To The formal showings, alThough one designer chooses a
few cusTomers To aTTend his preview showing. This designer sTaTed
he found his cusTomers' reacTions To his collecTions very helpful in

developing his fuTure presenTaTions.

45

The designers show from 60 To 200 new numbers in Their
largesT collecTion for The Fall/WinTer season. When asked whaT
percenTage represenTed new sTyles (see quesTion l8a, Appendix A),
all of The selecTed group agreed ThaT mosT numbers were new, buT
few were radically differenT. Some of The designers repeaTed The
basic lines of a garmenT which had sold successfully The previous
season, buT changed The deTail or adapTed iT in some way for a new
collecTion.

All of The designers sTressed The facT ThaT They exercise
compleTe conTroI over Their collecTions. NoThing is shown wiThouT
Their final approval. One designer in The group menTioned ThaT he
someTimes wiThdraws numbers afTer The collecTion is shown if, for
some reason,The designs fail To porTray his image.

When asked if buyers are currenle more recepTive of new
fashions (see quesTion l8c, Appendix A), The opinion of The group
was spliT. Some sTaTed ThaT buyers "are afraid of The very new and
Think in Terms of lasT years besT sellers." OTher designers disagreed
and believe ThaT "we have an enTirer new breed of buyers who are

more fashion conscious and willing To experimenT.

DisTribuTion

 

The selecTed designers sell apparel To fine deparTmenT sTores
and women's specialTy sTores ThroughouT The UniTed STaTes. STores in
cosmopoliTan areas on The EasT and WesT CoasT sell mosT of The apparel

produced by The designers, followed by sTores in The Chicago area.

46
In The larger ciTies where There is keen compeTiTion, one designer
creaTes exclusive lines for sTores. AnoTher designer said ThaT he
mighT consider giving "exclusives" if asked To do so, buT This was
noT The usual pracTice in The ready-To-wear indusTry. Three designers
in The group, however, did confine parT of Their line To sTores in
smaller ciTies where business is less compeTiTive.

Many of The selecTed designers in This sTudy indicaTed Their
firm's inTeresT in esTablishing inTernaTional business OperaTions.
Four of The business firms in This sTudy have manufacTuring operaTions
in foreign counTries. Two of The firms originally exporTed merchandise
To Europe. Since The merchandise sold for almosT Three Times The
American price, The exporTaTion of apparel proved unprofiTabIe. One
manufacTurer produces parT of his regular line in Canada; The oThers
manufacTure in Europe. European cusTomers are mosT anxious To buy
and wear American cloThes; They like The workmanship, fiT, and
fabrics of American apparel. The apparel is usually adapTed in

sTyles and fabrics suiTed To The European markeT.

PromoTional AcTiviTies

 

Fashion shows were considered by all members of The group
To be The besT form of promoTion. All of The designers parTicipaTe
in benefiT chariTy fashion shows; The largesT is The annual Cancer
Show. Two designers Travel and puT on fashion shows in reTail sTores;
These designers feel ThaT such public exposure is The besT form of

promoTion.

47
The names of The selecTed designers in This sTudy are well
known To The fashion conscious public. GreaT emphasis is placed on
adverTising and publiciTy To promoTe The designers and Their apparel.
EighT of The group adverTise in The following publicaTions:

PublicaTions:
Number 91_MenTions

 

 

 

19929. 7
Harper's Bazaar 7
The New Yorker 4
Town and CounTry 4
Time I

 

Playbill (TheaTer program) I

Two designers didn'T feel The need To adverTise; The sTores
ThaT carried Their merchandise feaTured The designer's name in news-
paper and magazine publiciTy and adverTising. The mosT publiciTy is
given To designers by reTail sTores, followed by ediTorial feaTures
and merchandise crediTs in fashion magazines.

According To The designers, much of The ediTorial space
misrepresenTs Their apparel. The common complainT is ThaT magazines
ofTen show apparel as "Too bazaar and poorly accessorized - our designs
are noT meanT To shock." Some designers find iT necessary To personally
conTrol publiciTy; oThers leT Their public relaTions and publiciTy
firms approve. Five designers in The group employ public relaTions

and publiciTy firms; four oThers use adverTising agencies. Two

48
designers require approval of all ediTorial arTicIes feaTuring Their
apparel. One highly esTeemed designer exercises compleTe conTrol over
ediTorial feaTures and phoTographs of his apparel in magazines and
newspapers; apparel feaTured in window displays of reTail sTores also
has To be approved. This same designer requires ThaT only vague
skeTches and blurred phoTographs of apparel shown in his collecTion
be prinTed unTil he gives a release daTe. He wanTs his cusTomers To

have Time To wear his apparel before iT is copied by cheaper manufacTurers.

Influence gi_0esigners Upon American Fashion

 

Each designer was asked specific quesTions in order To
assess The conTribuTion of The American designer To The apparel
indusTry and The influence of The designer upon American fashion. An
opporTuniTy was given for an individual reacTion and expression of
opinion as To The goals and fuTure of American designers. Designers
also described The aTTemst being made To encourage creaTive TalenT
and To promoTe an undersTanding of American fashion.

The firsT quesTion asked individual designers abouT Their specific
goals in designing. The majoriTy of designers sTaTed They wanTed To
presenT examples of good TasTe in dress for The American public Through
The apparel They creaTe. When quesTioned furTher as To whaT qualiTies
consTiTuTe good TasTe in apparel, The designers menTioned simpliciTy

and good design.

49
One designer sTaTed her feeling of responsibiliTy for creaTing

good designs and mainTaining sTandards which offered no compromise.
AnoTher summarized her goal as an aTTempT To upgrade The TasTe level
of The public and To be an imporTanT parT of iT. She sTaTed: "of
course This is Time consuming, buT l can'T deviaTe from This goal."
OTher sTaTemenTs of goals included: "creaTing good designs," "designing
cloThes ThaT wear well," and "seTTing an example of good TasTe and
simpliciTy." The wish'ha'treaTe a new look in apparel, buT noT aT The
expense of good designs'was expressed by one designer. AnoTher said,
"I'm noT ouT To revoluTionize cloThes, buT To have women look aTTracTive."

When The designers were quesTioned regarding Their conTribuTion
To The apparel indusTry, Their answers reflecTed Their goals. The
designers feel They conTribuTe To The promoTion of American fashion,
noT only in Their segmenT of The indusTry, buT in The indusTry as a
whole. STaTemenTs such as, "I seT an example for The indusTry" and
"I conTribuTe good design and workmanship” indicaTe The designers'
concern for all aspecTs of apparel producTion.

All of The designers' apparel is copied on The mass markeT

by cheaper manufacTurers. Members of The group considered This a
complimenTary acknowledgemenT of Their posiTion in The indusTry. Such
exclamaTions ias "pleased," "flaTTered," and "graTified" were common.
One designer summed up The groups' reacTion, "we would feel our
influence in fashion was slipping if we weren'T copied." Only one

designer expressed The desire ThaT a firm have a one-season leeway

50

before They are copied; This is To proTecT his cusTomer. AnoTher
expressed annoyance when her designs weren'T well copied. Many
Times excess deTaiI is applied To The copies which desTroys The good
design of The original model. One designer suggesTed ThaT manufacTurers
aTTend a special showing of The designers' collecTions To see apparel
accessorized as was originally inTended.

Many of The designers in The group sTressed The feeling ThaT
Their greaTesT conTribuTion was creaTing apparel which reflecTed
whaT American women wanT. The designers creaTe and promoTe designs
and sTyles for The conTemporary American woman. One sTaTed, "I've
made women aware of The younger, sporTy, more casual cloThes ThaT go
wiTh our Typical American life." Some designers in The group
originaTed designs which fiTTed The needs of American women. One
designer sTaTed ThaT she "sTarTed The sporTs look in American women's
apparel." AnoTher designer had conTribuTed specific apparel iTems;
sporTswear such as reversible and shorT sleeved coaTs. One designer
felT she had revoluTionized The junior markeT. She made iT a "size
range, insTead of an age range." She creaTed sTyles for women of all
ages, noT jusT for The Teens. She also sTaTed ThaT she "designs for
The many, noT The few." AnoTher designer creaTes designs wiTh a
popular figure Type in mind. He said ThaT his apparel is proporTioned
To fiT The shorT-waisTed figure which seems To be characTerisTic of

many American women.

5|

The designers promoTe Themselves To The public Through Their
own designs. MosT designers wanT To projecT examples of good TasTe
Through Their creaTiviTy. They also aTTempT To show The public The
correcT way To accessorize cloThes. One designer Travels To sTores
ThroughouT The counTry commenTaTing her own fashion shows. She sTaTed
ThaT public appearances leT people "see me and my designs." She
believes ThaT The public should also be exposed To The philosophy
behind her creaTions.

As a group The designers Take pride in The fashion apparel
IndusTry. Their businesses are conducTed wiTh inTegriTy. Some in The
group feel ThaT since The apparel indusTry is "big business", The image
of SevenTh Avenue should be improved. One designer sTaTed ThaT "The
garmenT disTricT is Too overcrowded and slows down progress." AnoTher
in The group would like To see "The area expand and projecT more of a
sophisTicaTed image."

The majoriTy of designers in The selecTed group acTively
promoTe Themselves and Their fashions. OThers do noT Think promoTion
is necessary and believe ThaT Their "cloThes speak for Themselves."
Some designers lecTure To groups; oThers wriTe arTicIes for magazines
and newspapers; and a few occasionally appear on radio and Television.
There is also considerable promoTion by The designers as a group. All
The designers are members of The Council of Fashion Designers of America;
some are members of The New York CouTure Group; and all The women are

members of The Fashion Group.

52

When quesTioned abouT The fuTure of American designers and
fashion apparel The designers replied enThusiasTically ThaT The
indusTry has "never been healThier," is "Tremendous," and "has a
greaT fuTure." The designers believe ThaT The American ready—To-
wear IndusTry is aTTracTing.more young TalenTed designers who are
aware of The needs of conTemporary men and women, and have The abiliTy
To TransmiT Their ideas inTo apparel designs. MosT new TalenT is
direcTed Toward ready-To-wear, since The demand for cusTom apparel is
decreasing. The designers agreed There will always be women who wanT
cusTom designed apparel for individuaIiTy or because of figure problems.
However, The inTerviewees believe ThaT The fuTure for young cusTom
designers is IimiTed due To The IimiTed demand, high prices, and lack
of skilled labor To inTerpreT Their designs. Many in The selecTed group
of designers Take an acTive parT in encouraging young creaTive TalenT.
Many funcTion as criTics and advisors To arT schools; some lecTure To
sTudenT groups; and oThers give financial aid To aspiring sTudenTs
in The form of scholarships.

All designers agreed ThaT The American fashion apparel indusTry
has unlimiTed fuTure poTenTial. The ready—To-wear manufacTurers and
Their designers are respecTed ThroughouT The world. Some of The firms
included in This sTudy are leaders in esTablishing inTernaTional Trade.
A few firms are members of The American ExporTers of Fashion, a group
of ready-To-wear manufacTurers promoTing Trade relaTions. Fashion
shows inTroducing American fashions have been presenTed ThroughouT The
world under The sponsorship of The UniTed STaTes Commerce and STaTe

deparTmenTs.

53

Summary
The apparel Types creaTed by The selecTed group of

designers include dayTime, evening and lingerie which are
produced in a varieTy of price and size ranges suiTable for The
conTemporary American woman. The designers' lines are shown To
The press and buyers aT seasonal presenTaTions. Fine deparTmenT
and women's specialTy sTores ThroughouT The UniTed STaTes disTribuTe
Their apparel.

The designers feel They influence American fashion and
conTribuTe To The indusTry as a whole. The work of The designer
is recognized and promoTed by individuals and groups inTeresTed in

furThering American fashion.

CHAPTER VI

SUMMARY AND RECOMMENDATIONS

Summary

The American designer has mainTained an imporTanT place in
The developmenT of The American fashion apparel indusTry. In The
inTeresT of finding ouT more abouT The role and conTribuTion of
American designers To The fashion apparel indusTry, an invesTigaTion
of a selecTed group of designers was iniTiaTed. This sTudy, an
ouTgrowTh of a larger survey of regional markeTs presenTIy underway
aT Michigan STaTe UniversiTy, is an exploraTion of The sources of
inspiraTion, meThods of creaTion and The conTribuTion of American
designers To The apparel indusTry.

A selecTed group of designers was chosen from a lisTing of
The Council of Fashion Designers of America. These designers are
represenTaTive of ouTsTanding creaTive leaders in The design field.
Ten designers were inTerviewed by The wriTer aT Their New York firms.
A sTrucTured lnTerview schedule was divided inTo four parTs: The
firsT parT soughT To obTain informaTion abouT The designer's back-
ground, Training, and experience; The second parT was designed To
gain insighT inTo The role of The designer wiThin The firm; The
Third parT concerned The Type of apparel designed and iTs promoTion
and disTribuTion; and The final parT asked for The designer's opinion

of his conTribuTion To The American fashion apparel indusTry.

54

55

The educaTional achievemenT level of The selecTed designers
ranged from high school To The compleTion of arT school. MosT
designers received Training In more Than one area, buT They con-
sidered skeTching The mosT valuable course, boTh for IocaTing Their
firsT job and conTinued use.

Each of The selecTed designers had spenT years in The
indusTry before achieving recogniTion and fame. The majoriTy of
The designers Trained in New York CiTy by working in various
capaclTies for a varieTy of well known dress manufacTurers. All The
designers sTressed The need for Thorough knowledge of all aSpecTs of
The fashion business. They considered a period of apprenTiceship
Their mosT valuable experience.

All designers in The group hold managemenT posiTions in
Their manufacTuring firms. MosT designers work for dress houses
specializing in dayTime and evening wear and one designs lingerie.
Some deSIgners creaTe accessories, as well as apparel for oTher
firms, on a parT-Time or free lance basis.

Each designer has his own meThods of work leading To The
creaTion of new designs. AlThough inspiraTional ideas menTioned
were many and varied.The majoriTy of designers considered personal
experience, Their cusflbmers, and awareness of conTemporary life
Their mosT imporTanT sources of inspiraTion. The designers designaTe

Their cusTomers and fabrics as The greaTesT influence upon Their designs.

56
MosT of The selecTed designers agreed ThaT Americans have surpassed
The Europeans and do noT depend upon Paris for inSpiraTional maTeriaI.
However, some designers aTTend The European collecTions and purchase
original models for adapTaTion.

MeThods of creaTion varied wiTh each designer buT all are
assisTed by associaTe designers, assisTanT designers, and skeTchers.
Some work closely wiTh Their sTaff, while oThers do noT. The
designers feel iT is noT always necessary To know The Techniques
involved in The consTrucTion of The sample models. Many expressed
The role of The designer as a creaTor and inTerpreTer of ideas. All
of The designers sTress ThaT They supervise The producTion, ediT,
and selecT The final garmenTs To be shown in Their collecTions.

American designers creaTe a varieTy of apparel Types which
are divided inTo Three major caTegories TiTled: General DayTime
Apparel, Evening Apparel, and Lingerie. The majoriTy of designers
creaTe apparel for boTh dayTime and evening wear. Each designer
produces apparel wiThin a wide price range. The dresses are priced
from $50 for a sporTsdress To $4,000 for a formal evening gown. The
besT selling range for mosT p0pular iTems is from $50-$299. The
besT selling sizes are in The 8-I2 and 8-l4 size range.

The producTion of apparel is geared To seasonal lines. The
Fall/WinTer and Spring lines are The mosT imporTanT since They are
The largesT in volume. The Fall line, however is considered by all

of The group To be The mosT Trend-seTTing. All excepT one of The

57
designers in The sTudy presenT collecTion showings of Their seasonal
lines in Their New York showrooms for The New York press and buyers.
All exercise compleTe conTrol over Their collecTions, noThing is
shown wiThouT Their final approval.

Apparel is sold To fine deparTmenT and specialTy sTores
across The counTry. MosT of The designer's apparel is sold in sTores
in cosmopoliTan areas on The EasT and WesT CoasT followed by The
Chicago area in The Middle WesT.

The designers' names are well known To The fashion conscious
public. Members of The group have won every fashion award offered
To designers. Their names appear on apparel labels and are included
in adverTising and publiciTy promoTions.

The designers feel They conTribuTe To The promoTion of
American fashion. Many of The designers in The group sTressed The
feeling ThaT Their greaTesT conTribuTion was The creaTion of apparel

suiTed To and reflecTing The conTemporary American woman.

RecommendaTions

 

This sTudy of The American designer invesTigaTes an area
which has been relaTively unexplored. The American designer, his
creaTive meThods and conTribuTion To American fashion apparel have
been bypassed by recenT research. SuggesTions for furTher sTudy of
designers in oTher segmenTs of The apparel indusTry may be made.

The inTerview schedule developed for The invesTigaTlon obTained

The desired informaTion. ReplicaTion of This sTudy uTiIizing The

58
inTerview schedule mighT yield furTher informaTion concerning The
work and conTribuTion of designers creaTing fashion apparel. ln-
vesTigaTions mighT be made of designers in oTher geographic areas,
and designers working wiTh oTher Types of manufacTuring and pro-
ducTion meThods. STudies mighT also be conducTed wiTh designers
of differenT Types of apparel.

A more deTailed sTudy of producTion meThods and Techniques
would be obTained by augmenTing This inTerview schedule wiTh
observaTions in The workrooms.

A more exTensive survey involving a larger number of

designers would yield more conclusive resulTs.

APPENDIX A

DaTe

 

Designer STudy

 

 

 

 

Firm Name Number
Address Phone
RespondenT PosiTion

 

 

Through This inTerview we hOpe To obTain informaTion abouT
The creaTive meThods of American designers and Their conTribuTion
To fashion apparel. I should like To begin by asking quesTions
abouT your background.

I. How many years have you worked as a professional designer?

2. Do you have an added inTeresT in The firm besides designing?

No
Yes [If yes] Owner
ParTner
OTher
3. Are you associaTed wiTh any oTher manufacTuring businesses?
No
Yes [If yes] Which ones? ParT Time Free Lance

4. WhaT work did you do before your presenT posiTion?
How many jobs?

In The same firm or differenT firms?

5. In which professional or business organizaTions, boTh local and
naTional do you hold membership?

6. Have you won any fashion awards?
No
Yes [If yes] Which ones?

7. Where did you geT your Training?

Design School [If yes] Where?

ArT School [If yes] Where?

As an apprenTice To anoTher designer [If yes] Whom?
OTher

59

9.

60

[If design or arT school]

WhaT courses prepared you professionally for your presenT
posiTion?

Design

Draping

HisTory of CosTume

PaTTernmaking

Sewing

SkeTching

OTher

WhaT Type of apparel do you design?
a. WhaT is your size range?
b. WhaT is your price range (boTTom To TOp)?
I. WhaT is your besT selling range?
c. WhaT Type of person do you design for?

Where do you usually geT your inspiraTion, or your design ideas?
ArchiTecTure

ArT

CusTomers

Fabric

Films

HisToric CosTume
MeThods of CreaTion
NaTure

Plays and Programs
OTher

a. Do you aTTend The Paris and lTalian openings?

No
Yes [If yes] Does your firm buy any originals?
No
Yes [If yes] Do you adapT Them?
No
Yes

WhaT meThods do you prefer when creaTing your designs?
Draping in Fabric

Draping in Muslin

FlaT PaTTern

SkeTching

OTher

I2.

6|

In whaT way do Trends, as you see Them, affecT your designs?
a. How do you perceive new Trends?
WhaT do you consider To be The greaTesT influence upon your designs?
a. The one mosT imporTanT influence?
The following quesTions concern The organizaTion of The firm,
The collecTion, and iTs promoTion.
Do you design under your own name or The name of The house, or boTh?
Own Name
Firm Name
BoTh
I would like To know abouT The organizaTion of The design deparTmenT.

a. MeThods of OperaTion

b. PosiTion of Workers c. Number of Workers d.TrainIng Needed

 

 

 

AssisTanT Designers
Sample Hands
PaTTern Hands
Hand Finishers
OThers
How many collecTions a year do you show? When?

For whaT Type of sTores?
DeparTmenT STores

SpecialTy Shops

Do you have a special show for The press?

Which seasonal showing is mosT imporTanT To your firm?

Why?

How many numbers To a collecTion?
a. WhaT percenT represenTs new sTyles?
b. WhaT percenT do you consider adapTaTions of previous sTyles?
c. Do you find buyers more recepTive To new fashions These days?

No
Yes [If yes] Why?

20.

2|.

22.

23.

24.

25.

62

(conTinued)
d. WhaT is The average percenT of discards in a collecTion?

Do you design accessories To show wiTh your apparel?
No [If no] Do you selecT special accessories?

Yes [If yes] Do you sell accessories?

00 you have a franchise program or give exclusive sTyles To reTailers?
No
Yes [If yes] Under whaT condiTions?

Does any geographic region in The UniTed STaTes sell more of
your apparel Than The oThers?

No

Yes [If yes] Which?

Does your firm do any exporTing?
No
Yes [If yes] Does iT exporT your regular line of merchandise?

A special line of merchandise?
Where?

Does your firm manufacTure in any foreign counTries?
No
Yes [If yes] Where?

Where does This firm adverTise?
NaTionally
Magazines Television OTher
Vogue
Harper's Bazaar
New Yorker
Town and CounTry

 

Glamour

Mademoiselle

OThers
Do you do any local adverTising?
No
Yes [If yes] Newspapers

OTher

Do you have any requiremenTs for your adverTising and publiciTy?
No
Yes [If yes] WhaT are They?

26.

27.

28.

29.

30.

3|.

33.

34.

63

Do you use an adverTising agency?
No
Yes

Do you use a public relaTions firm?
No
Yes

Do you use oTher forms of promoTion?
No
Yes [If yes] WhaT forms?

Fashion Shows

OTher

These concluding quesTions concern your conTribuTion To
The apparel indusTry.

Of course every designer aims To sell, buT do you as an individual,
have any special goal in designing?

Are your designs c0pied in The mass markeT?
No
Yes [If yes]

a. WhaT is your reacTion To This?

b. Would you like proTecTion againsT copying?
No
Yes [If yes] How?

In whaT ways do you encourage creaTive TalenT?
LecTures

ParTicipaTion in EducaTion

ApprenTice Programs

OTher

Do you aTTempT To promoTe and improve public undersTanding of
The designer and The fashion arTs?

No

Yes [If yes] In whaT way?

In whaT ways do you feel ThaT you, as an individual, have
conTribuTed To The American fashion apparel indusTry?

In your opinion, whaT does The fuTure hold for American designers
and fashion apparel?

Ready-To-wear

CusTom

APPENDIX B

March l4, I966

Dear

A survey of an imporTanT group of designers working
currenle in New York CiTy is planned as parT of my MasTer's
program aT Michigan STaTe UniversiTy. I would like To
inTerview selecTed designers To gain informaTion regarding
Their Training, meThods of creaTion, and specialiTies.

Since you are an auThoriTy in The field of fashion
and design, I would appreciaTe your assisTance in IocaTing
Those designers who would be considered ouTsTanding
people in The currenT fashion world.

I will be in New York CiTy during The week of
March TwenTy-firsT. I would like To call for an
appoinTmenT To see you or a member of your sTaff, if This
could be arranged aT muTual convenience.

Thank you very much for your aTTenTion.

Sincerely,

(Miss) Elaine STauber

64

APPENDIX C

Council 2: Fashion Designers 9: America

Frank Adams
Adolfo

Geoffrey Beene
Bill Blass
Donald Brooks
BeTTy Carol

Oleg Cassini
Louis Clausen
Jo Copeland
Lilly Dache
Oscar de La RenTa
Florence Eiseman
Olga ErTeszek
David Evins
Anne FogarTy
James Galanos
Rudi Gernreich
Sophie Gimbel
Chuck Howard

Mr. John

Mabel Julianelli
David Kidd

Bud KilpaTrick
Anne Klein
Helen Lee

BeTh Levine
lfllllam Lord
Jean Louis
Tzaims Luksus
Jose MarTin
Vera Maxwell

 

Marie McCarThy
MargareT Miller
VincenT MonTe-Sano
John Moore
Norman Norell
Mollie Parnis
Sylvia Pedlar
Anna Maximilian
Sara RipauIT

Leo RiTTer
Shannon Rodgers
Helen Rose
Roxanne

PaT Sandler
Ferdinando Sarmi
Arnold Scaasi
CaTherine ScoTT
Elinor Simmons
Adele Simpson
Pembroke Squires
STeIIa SloaT
Karen STark
GusTave Tassell
Jacques Tiffeau
Pauline Trigere
ChesTer Weinberg
John WeiTz
Andrew Woods
Sydney Wragge
Ben Zuckerman

APPENDIX D

AugusT 22, I966

Dear

American fashion is being recognized as an imporTanT parT of
American arT and cuITure. Michigan STaTe UniversiTy is inTeresTed
in The conTribuTion of The fashion apparel indusTry and has under-
Taken several sTudies of The regional markeTs ThroughouT The naTion.
Because of The imporTanT role of The designer, a sTudy is also
being conducTed To gain informaTion regarding The conTribuTion of
The American designer To The fashion apparel indusTry.

As a resulT of aTTending a panel meeTing lasT March in con-
juncTion wiTh The NaTional Council of The ArTs, I have become
inTeresTed in The leading designers in New York CiTy. For my
work Towards my MasTer's degree, I wish To inTerview a selecTed
group of creaTive leaders. Miss Eleanor LamberT has suggesTed
ThaT you mighT conTribuTe informaTion regarding your work in
fashion design. My quesTions are brief and should noT Take longer
Than fifTeen minuTes. Your parTicipaTion would be of greaT value
To The Michigan STaTe UniversiTy sTudy.

I will be in The New York area unTil SepTember TwenTieTh. I
would like To have an inTerview wiTh you someTime during This period,
aT your convenience. I will Telephone your office for an appoinTmenT,
on Tuesday, AugusT 30, I966.

Thank you for your consideraTion. I am looking forward To
Talking wiTh you.

Sincerely yours,

(Miss) Elaine STauber
8 DorseT Road
GreaT Neck, New York

66

APPENDIX E

LisT 91_CooperaTing Designers

 

Bill Blass

Jo Copeland
Anne Klein
Norman Norell
Mollie Parnis
Sylvia Pedlar
Shannon Rogers
Elinor Simmons
STeIIa SloaT

Pauline Trigere

67

B I BL IOGRAPHY

BIBLIOGRAPHY

Books

Brockman, Helen. The Theory 2:_Fashion Design. New York: John
Wiley and Sons, Inc., l965.

 

 

 

Cain, GerTrude. The American Way gi_Designing. New York:
Fairchild PublicaTions, Inc., I950.

Chambers, Bernice G. Fashion FundamenTals. Englewood Cliffs, N.J.:
PrenTice—Hall, Inc., l947.

 

Crawford, M.D.C. The Ways gf_Fashion. New York: G. P. PuTnam's
Sons, l94l.

Fairchild, John. The Fashionable Savages. New York: Doubleday
and Company, Inc., l965.

 

Fashion Group Inc., (ed.). Your FuTure ifl_Fashion Design.
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FIugel, J. C. The Psychology 9: CloThes. London: The HogarTh
Press LTd., I950.

 

FogarTy, Anne. Wife Dressing. New York: Julian Messner Inc.,
I959.

 

Jarnow, JeaneTTe A. and Judelle, BeaTrice. Inside The Fashion
Business. New York: John Wiley and Sons, Inc., l965.

 

Hawes, ElizabeTh. Fashion i§_Spinach. New York: Random House,
I938.

Hawes, ElizabeTh. Men Can Take 1:, New York: Random House, I939.

 

Hawes, ElizabeTh. Why i§_Dress? New York: The Viking Press, I942.

Head, EdiTh. How To Dress for Success. New York: Random House,
l965. '—

 

68

69

Hurlock, ElizabeTh. PsychoIogy 9i Dress. New York: The Ronald
Press Col, I929.

 

McCardell, Claire. WhaT Shall I_Wear? New York: Simon and
SchusTer, I956.

 

NysTrom, Paul. Economics g:_Fashion. New York: The Ronald
Press Co., I928.

Picken, Mary Brooks. The Fashion DicTionary. New York: Funk
and Wagnalls Company, I957.

 

Roshco, Bernard. The Ra Race. New York: Funk and Wagnalls Co.,
Inc., I963.

 

SelITiz, Claire, 21 a1. Research MeThods 12_Social RelaTions.
New York: HolT, RineharT and WinsTon, I965.

 

 

WarburTon, GerTrude and Maxwell, Jane. Fashion For A Living.
New York: McGraw-Hill Book Company, Inc., I939.

 

Unpublished MaTeriaI

 

Bourne, JudiTh MayTon. "An Analysis of The DevelopmenT of The
Fashion IndusTry in Alabama, I949-I962." Unpublished
MasTer's Thesis, Auburn UniversiTy, I962.

Golly, Jeanne Marie. "A STudy of The PresenT STaTus of The Dallas
Women's Apparel MarkeT." Unpublished MasTer's Thesis,
DeparTmenT of TexTiles, CloThing and RelaTed ArTs, Michigan
STaTe UniversiTy, I966.

Goodman, Charles S. "The LocaTion of Fashion IndusTries wiTh
Special Reference To The California Apparel MarkeT."
Michigan Business STudies, Vol. X, No. 2. Ann Arbor,
Michigan: UniversiTy Press, I959.

Griffen, Tira W. "A Survey of SelecTed Regional MarkeTs Producing
Women's and Misses' Apparel." Unpublished MasTer's Thesis
DeparTmenT of TexTiles, CloThing and RelaTed ArTs, Michigan
STaTe UniversiTy, I949.

Hersker, Barry Jay. "The Women's Apparel ManufacTuring IndusTry in
Florida." Unpublished DocToral disserTaTion, The UniversiTy
of Florida, I954.

109 m3

997‘“:

 

 

 

 

@952:

7O

Kilbourne, Helen MargareT. "A STudy of a SelecTed Group of CusTom

Design Firms WiThin The Michigan Apparel IndusTry." Un-
published MasTer's problem, DeparTmenT of TexTiles, CloThing
and RelaTed ArTs, Michigan STaTe UniversiTy, I966.

Murray, Maria Calabrese. "The DevelopmenT of French and American

NugenT,

Designers AffecTing CosTume of American Women of The 20Th
CenTury." Unpublished MasTer's Thesis, College of Home
Economics, Syracuse UniversiTy, I949.

Elinor RoTh. "The RelaTionship of Fashion in Women's Dress
To SelecTed AspecTs of Social Change from l850-I950."
Unpublished DocToral disserTaTion, Louisiana STaTe UniversiTy
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OTher Sources

 

LamberT, Eleanor. Council of Fashion Designers of America.

 

New York: Press ReTease, by The auThor,_T965.

9n
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