Gong, Minjie Final MRP
Gong, Minjie Final MRP
Gong, Minjie Final MRP
By
Minjie Gong,
Master of Arts
In the Program of
Fashion
I hereby declare that I am the sole author of this major research paper. This is a true copy
of the major research paper, including any required final revisions, as accepted by my
examiners.
I authorize Ryerson University to lend this major research paper to other institutions or
or by other means, in total or in part, at the request of other institutions or individuals for
I understand that my major research paper may be made electronically available to the
public.
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Sustainable Fashion Design: Transformable Garments for Versatility and Longevity
Minjie Gong, 2014
Master of Arts, Faculty of Fashion, University of Ryerson
Abstract
Practical explorations of transformable garment design are the core of my research, which
aims to create sustainable design from an innovative perspective. This transformable design
project creates a garment constructed from smaller components which can each be separated and
recombined. The garment can be transformed, therefore, to reflect a wide variety of styles by
detaching or replacing its individual components. This new, ecological design method for a
multi-purpose garment reduces fabric waste, extends garment life span and engages the
Transformable garments have a unique advantage in that they can both attract consumers
and contribute to sustainable fashion. While this transformable project demonstrates great
potential for design which cannot be fully explored here, the study provides critical insight into
designer and consumer interests and practices in fashion sustainability. Along with providing
greater awareness of sustainability issues in the fashion industry, the designs in this project bring
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Acknowledgements
Without his endless support, encouragement, guidance, patience and belief, I would not have
completed my studies. I would also like to thank Professor Sue for all of her instruction and
I wish to thank the participants of the online survey and interview for their generous time
and invaluable insight. Special thanks should be given to Professor Qiongzhou Li and Professor
Hui Huang at Soochow University in China, for sharing their knowledge and experiences with
me. I also wish to thank Mr. Ziyang Zhang at Ryerson University for his great help on the
interactive website design and Ms. Lu Cai at South Central University for Nationalities in China
my entire life, sacrificing so much and always supporting my decisions. I also wish to express a
thousand thanks to my uncle, Henry Li, and aunt, Linda Sun, who have always believed in and
Last but not least, I thank my friends and my fellow MA Fashion classmates, for all the
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Table of Contents
Author’s Declaration………………………………………………………………...……………ii
Abstract……………………………………………………………………………..….………..iii
Acknowledgements……………………………………………………………………..……….iv
Table of Contents………………………………………………………………………………...v
List of Tables………………………………………………………………………...……….…vii
List of Figures………………………………………………………………………………......viii
List of Appendices…………………………………………………………………………….…x
Chapter 1: Introduction…………………………………………………………………………..1
1.1 Sustainable Fashion…………......................................................................................2
1.2 Mass production and Mass customization…................................................................2
1.3 Transformable Design………………………………………….………..…………....3
Chapter 2: Review of Literature……………………………………………….………...…….…7
2.1 The Considerable Role of Design in Sustainable Fashion………………….…..….…7
2.2 The Importance of Versatility and Utility in Sustainable Fashion Design….…..……9
2.3 Consumer Engagement and Involvement in Sustainability…………………..…..…10
2.3.1 Customized fashion and sustainable clothing………………………...………10
Chapter 3: Methodology……………………………….…………………………….…........….13
3.1 Experimental Research: Sustainable Fashion Designs…………………......….……13
3.1.1 Summary of design experiments……………………………………..….……13
3.2 Qualitative Research: Interviews and Survey of Design……………………………14
3.2.1 Interviews……………………………………………………………......……14
3.2.2 Survey…………………………………………………………………………15
Chapter 4: Sustainable Fashion Product Design and Development………………….......…..…16
4.1 Design 1: One-piece Garment - Zero Fabric Waste Garment Design……...….……16
4.2 Design 2: Detachable Garment…………………………………………………...…20
4.3 Design 3: Transformable Design…………………………………………...….……23
4.4 Stage 1: Researching and Purchasing Material……………………………...………24
4.4.1 Sample making……………………………………………………...………...25
4.4.2 Sketch and design drawing…………………………………………...… …...26
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4.5 Stage 2: Pattern Making of Design 3………………………………………...……...29
4.6 Stage 3: Design Change……………………………………….……………...…..…30
4.6.1 Fabric Purchasing……………………………………………….…...……..…33
4.6.2 Draping, Design Alteration, Pattern Making and Modular Piece Making……33
Chapter 5: Research Findings…………………………………...….……………………………42
5.1 Interviews……………………………………………………………………………42
5.1.1 Sustainable fashion……………………………………………………………43
5.1.2 Transformable design…………………………………………………………44
5.1.3 Participant responses to garment Design 3………………………...…………45
5.2 Online Survey………………………………………………………………...……..45
5.2.1 Basic demographics………………………………………………...………...45
5.2.2 Experimental design experiences……………………………….……..……...46
5.2.3 Customized garments………………………………………………...…….…50
5.2.4 Transformable garments……………………………………………...………52
5.2.5 Sustainable garments………………………………………………...……….53
Chapter 6: Conclusions……………………………………………………………...………..…56
Appendix A: Approval from Ryerson Ethical Research Board ……………………….....……..57
Appendix B: Interview Consent Form………………………………………………...……...…58
Appendix C: Interview Questions…………………………………………..………...…………63
Appendix C: Online Survey Questions……………………………………………...……..……64
Bibliography………………………………………………………………………....……….….69
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List of Tables
Table 13: Shopping intention toward customized design, sustainable design and transformable
design……………………………………………………………………………...…….55
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List of Figures
Figure 4.3: Technique drawing & design structure for Design 1………………...……..………18
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Figure 7.7: Design 3-3.A; 3.B; 3.C…………………………………………………...…….……31
Figure 7.16: Errors occurred with parts connection of Garment 3.A and Garment 3.B……...…37
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List of Appendices
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Chapter 1
Introduction
It is evident that fashion design has become increasingly diversified and democratized.
One can choose between a myriad of styles, such as hip-hop, hipster or punk, to reflect their
Contemporary fashions are also now available to consumers at all price levels. The most
appealing clothing type may be “fast fashion”, or, apparel that reflects rapidly changing styles at
low price points(Tokatli, 2008).Consumers tend to purchase more clothing items when the prices
are low or affordable and, as a result, more garments are sold than can actually be worn
(Banim& Guy, 2001;Woodward, 2007). Critics of “fast fashion” suggest that overconsumption
has led to increasing fashion industry waste (Fletcher, 2008; Hawley, 2008). Nevertheless, the
designers offer a plethora of styles, season after season, and buyers (young consumers, in
particular) consistently seek variety and novelty (Fralix, 2001). In the contemporary market,
both parties bear responsibility for the production of sustainable fashion design.
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1.1 Sustainable Fashion
Ecological critics of the fashion industry today suggest that it is certainly out of kilter. As a
part of growing trend to counteract the effects of “fast fashion”, blogs, books and business
reports are increasingly promoting the practice of “sustainable fashion” (Gwilt &Rissanen, 2011).
The goal of sustainability is to “… meet[s] the needs of the person without compromising the
ability of future generations to meet their own needs” (Brundtland Commission, 1987, Ch. 2,
paraI). Sustainable fashion, also known as eco-fashion, takes into consideration the total life
cycle of fashion production. Sustainability is accounted for at every level: in design concept, the
creation and use of materials, and in marketing, by promoting the ethical awareness of
consumers. Eco-fashion can encourage greater environmental awareness and demonstrate the
To promote ecological and sustainable fashion and reduce waste, designers are turning to
new design concepts such as zero-fabric-waste designs (McQuillan, 2011; Rissanen, 2008),
technology-enabled designs (Loker, 2008), and transformable designs (Fletcher, 2008). At the
same time, sustainable fashion designers must continue to attract consumers’ interest and
respond to their needs. Today, the greatest challenge for fashion producers may be in balancing
sustainable fashion production with contemporary consumer demands for variety and
affordability.
In the contemporary fashion industry, apparel of different colors, features, styles, patterns,
textures, functions, shapes and sizes provide customers with an overabundance of choice, and
producers expect this great variety of mass produced garments to sell. Mass production (creating
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standardized goods at low cost in mass quantities) is currently the most universal apparel
production model and is one that has been used by the industry for centuries. However,
increasing consumer demands for individual and original designs have caused fragmentation
among fashion producers. In 1987, Davis introduced the concept of “mass customization,” a
production strategy that would cater to consumers’ different needs and wants by providing them
with customized products on a mass scale at a reasonable price. Mass customization was
identified as a consumer driven business strategy that “uses information technology to efficiently
produce customized goods and services with maximum differentiation through low-cost
production” and characterized by individualized mass production (Anderson et al, 1997, I95-
A19/2). Compared with mass production, mass customization is a more effective and efficient
The objective of this research, and from a designer’s point of view, is to enhance
In this unique method, individual clothing components are connected together by fasteners such
as zippers, hook and eyes, Velcro tape, and/or buttons. Each component can be unconnected and
re-configured to create an entirely different garment style at the whim of the consumer. For
example, if the basic shape is a long robe, the garment can be transformed into a long dress by
removing the sleeves, or it can be transformed into a short skirt, a vest, and other styles by
attaching/detaching different parts of the garment. Pockets and decorations can also be added to,
(or removed from) the garment and different fabrics, patterns and/or colors can be used to
replace individual, original pieces. The sustainable benefits of the transformable design concept
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are evident in the fact that an original garment can be transformed into a wide array of styles to
The transformable garment can have a long lifetime, as consumers need only dispose of
or replace worn-out parts. As shown in Figure 1, the traditional garment lifecycle process is
made up of five stages: The first is comprised of raw materials (fabrics, threads, buttons, zippers,
etc.); the second stage involves the industrial production of garments from these raw materials;
the third reflects the transportation of garments from producers to consumers by different
marketing channels; the fourth stage demonstrates consumer use, and the fifth stage, disposal.
Figure 4. Regular Garment Lifecycle (Allwood, Laursen, de Rodriguez & Bocken, 2006).
In contrast, the transformable garment lifecycle shows a clear difference in its last two stages. As
demonstrated by Figure 2, both traditional and transformable garments share the same first three
stages of raw materials, industrial production and transportation. However, the fourth stage
(consumer use) is markedly different than the traditional model, as the transformable garment
design reflects a re-circulation of use (as modified pieces replace worn-out parts) and a longer
garment lifestyle. As any part of the garment can be replaced by a new piece, the amount of
disposable materials makes a tremendous impact on the fifth stage, as the discarding of parts as
opposed to the whole of the fabric results in a reduction to fashion industry waste.
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New pieces
orm
Transform
Transform
Transf
Partly Disposal
marketing strategy. Because each component of the garment can be produced in different fabrics
(such as leather, cotton, linen, jersey, etc.) and in different color and patterns, the item can be
sold in individual pieces instead of as a whole package. This allows consumers to buy a basic
garment shape, choose and separately purchase different component pieces they like, and design
the finished piece as suits their needs at the moment. Furthermore, if some parts of the garment
are ripped or destroyed by wear, new pieces of the same parts can be replaced and the consumer
need not throw away the entire garment. The ability to both co-design and prolong the life of
favoured clothing items are some unique advantages of transformable design that may attract
consumers.
The overall benefits therefore, of the transformable garment are: increase the possibility
and variety of consumer use, diversity in style, reduction of waste, longevity of garment life, and
potential enhancement of greater consumer satisfaction over time. The transformable garment
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can also, significantly, promote greater consumer involvement with sustainability practices.
Instead of educating consumers about sustainability through the media or publications, the
transformable garment can act as an active agent for ecological change by engaging the
which aims to promote sustainable design through innovative perspectives. In order to reduce
overconsumption and offer renewable solutions, I have created several sustainable fashion styles,
and propose a mass customized design method to satisfy consumers’ constantly changing
demands. Through this project, I mean to demonstrate how transformable fashion design can
significantly reduce fabric waste, extend garment life and more directly engage and involve
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Chapter 2
Literature Review
The literature review is divided by three parts. The first part covers general knowledge
about fashion design processes and how apparel designers can increase sustainability in garment
design. The second part reviews existing transformable garments and the importance of
versatility and utility in sustainable fashion design. The third part explores the role of consumer
in sustainable fashion and examines mass customization strategy from aspects of both
Sustainability can be achieved in the fashion industry through many means, including garment
design, fashion marketing, and the consideration of consumer behaviour. The most efficient way
to promote sustainable fashion, however, is through fashion design. In the fashion industry,
manufacturing departments often follow a linear production model (see Figure 3). Each phase of
design and product development, materials acquisition, production, sales and distribution all
operate separately and are only initialized once the previous phase is complete. The first phase,
design and product development is the most influential stage because design choices affect the
material waste created at each phase of the production process, as well as product consumption,
Design and
Materials
Product Production Sales
Acquisition Distribution
Development
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To encourage designer involvement in sustainable fashion, Ann Thorpe (2005) argues,
“designers could incorporate time and dimension into their design philosophy…designing
resilient clothing to last beyond their life time to generations in the future” (as cited in Loker,
2008, p. 99). There are various design methods that can help to increase sustainability in the
fashion system - effective designs should offer garments with longevity, diversity and versatility
One of the main challenges of sustainable fashion design lies in its goal to reduce fabric
waste. Even in the clothing production process, there is up to 10 to 20 percent of fabric wastage
undertaken during the pattern-making process in garment production (2008). In his dissertation
“Creating Fashion without the Creation of Fabric Waste”, Timo Rissanen, a zero-waste pioneer,
discussed pattern-making wastage, fashion creation methods, and less wastage fashion designs.
He presented a number of zero-waste related designs, from the “tuta”, which was designed by an
Italian futurist in 1919 to the zero-fabric-waste dress collection designed by Mark Liu in 2007.
Rissanen’s research focused on jigsaw puzzle garment designs in which the fabric pieces
interlock, similar to jigsaw pieces. This design allows dressmakers to cut the fabric from a two-
Waste sustainable fashion design (Black, 2008; Bye, 2010; Farrer, 201; Fletcher, 2008; Lewis,
2008; Loker, 2008; Luke, 2008; McQuillan, 2011). Apart from the concept of Zero-Fabric-Waste,
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2.2The Importance of Versatility and Utility in Sustainable Fashion Design
One of the key benefits of sustainable fashion design is garment longevity. There are
many ways to extend a garments’ lifespan, including making high quality garments, using high-
quality dyes for longer-lasting color, and re-designing existing garments. Vartan (2008) claims
that modifying, refurbishing and repairing existing garments is a more efficient way to achieve
sustainable fashion than constantly purchasing new styles. Transformable garments reflect this
efficiency as they can be modified and repaired by detaching and replacing different pieces,
A garment that has versatility and hybridity is another effective solution to enhance
sustainability. If an article of clothing can change colors, or be modified by the user in pattern
and style, it has a better chance of being worn more often. As a result, a consumer’s need for
buying and consuming new and different garments will more likely be reduced (Black, 2008). In
addition, traditionally designed garments are usually purchased for specific occasions and /or
seasons (e.g. winter jacket, shorts, vest…), whereas transformable garments can be used in
multiple contexts. Though the idea of transformable, sustainable fashion may seem new,
numerous designs for multi-functional garments have appeared in the history of fashion,
including the ‘A piece of cloth’ (A-POC) collection by Issey Miyake (Miyake, Fujiwara, Kries &
Vitra Design Museum, 2001) the ‘Firefly Dress’ designed by Orth, Post and Cooper (Huang,
2011) and the color-changing dress collection made by researchers in Yonsei University (Lee,
Cho, Lee, & Cho, 2010).In order to design a garment with longer lifespan to serve multiple
purposes, it is important to understand how consumers interact and engage with the product.
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2.3 Consumer Engagement and Involvement in Sustainability
Fashion design can indirectly affect consumer behaviour to a point where buyers play an
important role in the system of sustainable fashion. In many cases, the responsibility of
sustainable practice is attributed to consumers rather than designers (Fletcher, 2008) because
sustainable designers are more often held accountable for the production process rather than
consumer use (Dombek-Keith & Loker, 2011). In order to further encourage consumer
involvement in sustainable fashion practices, detachable garment design with its active consumer
participation enables an extended use with fewer garments (Gwilt & Rissanen, 2011).
2.3.1 Customized fashion and sustainable clothing.Customized clothing has long been
an option for consumers looking for original, tailored fashions. Before the industrial revolution,
garments were mostly custom made to meet individual needs. In the contemporary fashion
industry, however, handmade garments and tailored designs exist in niche markets aimed at the
upper class. The majority of fashion consumers today are attracted to, and can only afford,
clothing that is mass produced. Consumers and producers both benefit from mass production, as
it reduces the cost of making goods and generates output in large quantities. Mass production can,
therefore, provide goods for consumers at minimized prices and generate maximized profits for
the producer.
combines advantages from both customization and mass production. This approach can also
better support sustainable fashion practices in the industry. Pine (1993) identifies mass
customization as:
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a new way of viewing business competition, one that makes the identification and
In mass customization, it is not only that designers offer consumers individually customized
goods and services (Pine, 1993), but that they engage in a memorable consumption experience
(Fiore, Lee, Kunz & Campbell, 2001). Mass customization fulfills consumers’ desire for
experience (Fiore, Lee & Kunz, 2004). The advantages of mass customization can be seen in the
success of various companies, such as Ikea, Lego and Levi’s. Levi’s ‘Personal Pair’ collection,
for example, is customized to provide buyers jeans with personalised measurements of waist,
hips and rise (Lott, 2001). Customer satisfaction and engagement with the brand is demonstrated
by this statistic: “the repurchase rate for Levi’s Personal Pair custom fit jeans was 38 percent as
Fashion designers can choose from many different types of mass customization, such as
needs (Senanayake, 2004). Adjustable customization refers to the adjustment of different design
features to customize products, such as one design for two uses. Dimensional customization
refers to cloth made with standardized designs and customized dimension, for instance, the tailor
shop. Modular customization refers to provide a wide variety of products and services by
combing and adjusting the modules (Anderson & Pine-II, 1997). To be specific, producer could
combinations (Pine, 1993). For example, Lego company. Modularity has been viewed as the
most essential element of achieving mass customization (Duray, Ward, Milligan & Berry, 2000;
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The appeal of mass customization has also been proven in the fashion industry. A 2001
article from The Critical Thinking Consortium, for example, reported that many consumers
would prefer to purchase customized apparel and footwear even if they must pay more for these
items (Fralix, 2001). More consumers today are willing to (and want to) design their own apparel
by modifying various features, such as color, texture, print, dimension and style (Lee, Kunz,
Fiore & Campbell, 2002). Buyers do not only benefit from wearing original, personalized
designs, but also gain a memorable consumption experience (Fiore et al., 2001). Several apparel
companies have already incorporated modular design and production into their mass customized
collections. Online sales are frequently used interactive platform for customers approach in mass
customization. A growing number of apparel companies are now offering mass customization
services on their websites, such as Customink, Zazzle, Brooks Brothers, Converse, Land’s End
and Nike.
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Chapter 3
Methodology
sustainable fashion design experiments and investigation, interviews and online surveys. The
2011). In order to reach the goal with the strongest design solutions, various design methods and
design samples were created and used. I created seven garment designs which comprised the
entire sample grouping (these included six individual styles and one final collection of
sustainable fashion designs). I then created a comparison chart to analyze the advantages and
disadvantages of each design. All of these designs were created based on sustainable fashion
• Design 1: a one piece design which a piece of rectangle fabric shaped by elastics without
• Design 2: a detachable design comprised of several individual components that are made
with two layers of fabric. Instead of sewing each piece of fabric together in the
production process, I attached interlocking hooks and eyes which can be connected and
separated by the user. Each fabric piece, therefore, functions separately from the other
and both are reversible. The user can change the garment’s style in varying ways by
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• Design 3: the final collection of transformable design, which is an extension of Design
2.The collection features a number of components which can be separated and changed.
In order to keep all the pieces in place, these components are connected by zippers, rather
In the second phase of the research, I conducted one-on-one interviews and online surveys
insiders’ advice and consumers’ opinions about this innovative design method. I created a variety
of interview and survey questions to investigate the sustainability, aesthetics, functionality, and
(both adult men and women): two fashion designers, two fashion scholars, and three
entrepreneurs. I recruited the participants through referrals and from Soochow University in
Suzhou, China. I interviewed fashion professionals in four cities of China: Suzhou (two scholars),
Shenzhen (two entrepreneurs and one designer), Nantong (one entrepreneur) and Nanjing (one
designer). During the interviews computer-generated visual images were used as a vehicle to
elicit informants’ perceptions and opinions (Harper, 2002) of Design 3. Each interview was
audio-recorded and later transcribed, and the length of interviews were ranged from 30 to 60
information about the current production status of sustainable and transformable garment
manufacturing in the Chinese market. Through the interviews, I also hoped to identify the
advantages and disadvantages of the transformable garment design, and to consider the
feasibility of manufacturing and launching the design in the Chinese market in the future.
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3.2.2 Survey.Consumers’ opinions of transformable design were collected by conducting
a public online survey, which included an experimental customization design section and 25
survey questions. The survey questions garnered consumers’ opinions about purchasing
sustainable fashion, mass customized garments and transformable designs. Survey was designed
and developed to seek responses from both male and female Chinese consumers, it took each
As an experiment in the custom design process, in the design section of the survey, I
created and posted an interactive website online which featured modular components of the
components to customize their own designs. I then used the collected quantitative data to analyze
consumers’ interests and perceptions of Design3. The 25survey questions provided insight into
provided information on consuming and shopping behavior, average price of clothing purchase,
I then used the qualitative from the interview and quantitative data from the survey to
transformable garment.
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Chapter 4
Sustainable Fashion Product Design and Development
For my first design, I meant to explore potential sustainable design methods and began
with a one-piece garment concept that focused on transformation, flexible garment shape and
aesthetic value. My model was primarily inspired by both origami patterns 1and the ‘New York
by Gehry’ 2building, a skyscraper featuring a rumpled and shifting surface. In order to recreate a
texture similar to the stainless-steel skin of Gehry’s building, I chose white artificial leather for
the garment, and also developed an elastic frame to create a corrugated origami feature.
During the garment design and production process, the first stage involved fabric sample
making, as shown in Figure 4.1. This figure demonstrates how the elastic structure, combined
with the weight and texture of the fabric, supported the corrugated architectural shape. In the
second stage, I developed design sketches and technical drawing (see Figure 4.2 and Figure 4.3)
outlined the work process for the one piece design (a rectangular piece of cloth without any cuts).
I sewed several elastics into the fabric, and then gathering and ruching them at the top and
bottom of the rectangular piece, and also added one elastic to each vertical edge of the cloth.
Figures 1.4 to 1.6 illustrate the garment’s versatility, and show a wide range of possibilities for
wear and its suitability for different body types. This design demonstrated potential for using
1
https://www.flickr.com/photos/jorge_ayala/2873275158/
2
http://www.newyorkbygehry.com
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Figure 4.1. Fabric sample making for one-piece dress
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Figure 4.3. Technique drawing & design structure for Design 1
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Figure 4.5. Different wear possibilities for Design 1
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Figure 4.7. Different wear possibilities of Design 1
My second detachable design was inspired by a simple, childhood object—the Lego brick.
The brick (the building block of the Lego construction kit) was introduced in 1958 and is the
most important product of the Lego brand (Lego.com, 2014). Lego bricks are sold in packages
with hundreds of pieces which can be connected and assembled in different ways to construct
various objects; the interlocking feature offers the user unlimited building possibilities. Lego
constructions can then be broken down into individual pieces and used to build anew. Lego’s
slogan promises that “It's just a matter of getting the imagination going – and letting a wealth of
To create the Infinite Dress, (Design 2), I adjusted the traditional garment making process
of making a long dress. As Figures 5.1 and Figure 5.2 demonstrate, I constructed the garment
from six main parts: front top (Figure 5.1.a), the shoulder-strap (Figure 5.1.b), front bottom
(Figure 5.1.c), back top (Figure 5.1.d), back bottom (Figure 5.1.e), hem (Figure 5.1.f) and three
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Each part of the garment was designed to be separated and reassembled by garment
accessories (82 hooks and eyes in total). All of these pieces have two sides, one black and the
other white (Figure 5.2). Each part of the garment can adjusted individually, and interchanged
with other fabrics of varying colors and patterns. I designed two extra decorative parts to
interchange with this design (Figure 5.3). This sustainable long dress (Figure 5.4) can be
transformed to reflect at least 80 different styles by detaching and interchanging individual parts
(Figure 5.5).
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Figure 5.3. Extra decorative components for Design 2
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Figure 5.5. Transformable styles of Design 3- Detachable garment
My final design, a modular design, was based on the foundations of the first two designs,
drawing from the benefits of experimenting with sustainability, mass production and
transformable design concepts. Figure 3.1 illustrates the nonlinearity of the design process, as I
moved back and forth between stages to reconsider ideas and come up with a final design
solution.
fabric components which can be easily separated and recombined. The user can transform the
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garment into a wide variety of styles by detaching or replacing the components. Technologically,
it is an advanced version of the Infinite dress as it employs zippers instead of hooks and eyes to
connect each fabric piece. For this design, I also used three different kinds of fabrics (leather,
knit and cotton) to provide varying garment textures. Design 3 is an improved sustainable
fashion design because the connections are more secure, it also offers more diversity of style
choices. The garment can be transformed into different styles such as vest, jacket, dress, and
jumpsuit, creating more than 300 style options by interchanging 39 fabric pieces.
Fabric Design
Design change Draping Pattern making
purchasing alteration
closure systems such as Velcro tape, hooks and eyes, and buttons, led me to realize that the
zipper was the preferable attachment to use in order to best construct a garment through modular
transformable design. This is because the zipper can easily attach two modular pieces, and
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creates a strong seal when it is closed. In my preliminary research of fasteners, I searched for
many zipper designs to evaluate their performance. This was one aspect of the general research
that I conducted on materials for modular transformable design to help me develop new ideas
and anticipate any design issues. However, despite my preparations, unexpected problems with
the fasteners occurred during the process of garment construction, and ultimately, I needed to
4.4.1 Sample making. It was important to thoroughly test the zipper connection
technique prior to the garment design and construction process because the utilization of the
zipper in this research was an important and challenging experiment. My research revealed that
the cross and “T” construction of zipper had not been used before, so it was critical to test this
option during the pre-sampling stage. The zipper research and experimentation revealed three
1. The zipper connection couldn’t achieve a T-construction, meaning the zippers could not
2. Though the zipper connection could achieve cross lines, meaning four zippers could be
used to separate a piece of fabric into four pieces with a cross-connection, they left a
3. Based on the structure of the human body, the separation of garments cannot always be
designed in straight lines. Zippers, therefore, are a better solution for designing flat
curves.
Compared with regular garment design, modular transformable garment design which uses
zippers as connectors can limit structural design possibilities. However, the sample testing shows
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the function of fabric separation and reconnection can be achieved by zippers. And the
4.4.2 Sketch and design drawing.As Figure 7.2 and 7.3 illustrate, I created several
design sketches and 30 design drawings based on my research. All of the designs combined
articles of daily clothing items (e.g. vests, dresses, tops and trousers) to create various styles and
As Figure 7.3 demonstrates (with the exception of the first two drawings) 28 designs
feature a separation line on the upper waist. This line reflects a separation point for multiple,
interchangeable components. The collection also features designs with other separation points
(e.g. sleeve hole line, neck line…) For example, from 3nd to 12th designs are sharing the same
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Figure 7.2.Sketches for Design 3
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Figure 7.3. Drawings for Design 3
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4.5 Stage 2: Pattern Making of Design 3
My first prototype (Garment 3.A) was a black and white version of the third design in
Figure 7.3. I chose cotton fabric and metal zippers for this design. From a process of pattern
making, modular piece creation and prototype construction, I developed my first garment model
(Figure 7.4).
Garment 3.A is comprised of 24 zippers and 12 modular fabric pieces (Figure 7.5). Each modular
piece has two layers of fabrics: one side is black and the other is white. One side of a zipper is
sewn onto each edge of each modular piece (Figure 7.6). When I developed the prototype,
problems arose: First, the cotton fabric was too thin and stiff for the modular pieces with zipper
connections. Then, I discovered that the fabric around the zipper cross-connection was uneven,
which is because each corner has fabrics double other seams. The fabrics in the corner rose up.
29
Figure 7. 5. Modular pieces for Garment 3.A
To account for the two problems that developed in stage 2, I needed to revisit and adjust
my design drawings. I realized that I had to find a fabric that was thicker and had better elasticity
than cotton for this collection. In addition to changing the fabric, I decided to avoid the cross-
connection of zippers in my next designs. The pattern making stage revealed that it was a better
strategy to separate pieces of fabric with one zipper instead of using multiple zippers to create a
cross-connection, to ensure that the fabric surface would remain even. Based on my experiences
30
with pattern making in stage 2, I initiated the following design changes. As Figure 7.7
demonstrates, I created design drawings Garment 3.B and Garment 3.C to adjust Garment 3.A.
These reworked designs differ from Design 3.A in that they avoid the cross-connection of
zippers as much as possible and the separation lines of each garment run in the same direction.
For example, most of the zippers of Garment 3.B (with the exception of the waist separation line)
run vertically. And, in the case of Garment 3.C, the separation lines are mainly horizontal. The
three garments maintain the same upper waist separation line, which allows the wearer to
interchange the tops and bottoms of each outfit. In addition to the upper waist line, designs 3.A
and 3.B have similar armhole lines, meaning sleeves from each separate garment can be
interchanged as well. Furthermore, the separation lines of each design use zippers to separate and
reconnect, which means that these three garments can be disassembled into several individual
fabric pieces. As long as the zippers of each piece have the same length, wearers can change
31
individual fabric pieces to reflect different fabrics and styles. Figure 7.8 illustrates the
32
4.6.1 Fabric Purchasing
I constructed the collection in January, 2014, when lots of thick fabrics for the winter
season were available in the textile markets; these were exactly the kind of fabrics the designs
called for. The main fabrics that I purchased were made of pleated artificial leather and a striped
I made these fabric purchases for two reasons: the first is that fabrics with elasticity and pleating
texture are good for eliminating uneven garment surfaces caused by zipper connections, and the
second reason is because metal zippers and leather make a successful and appealing aesthetic
combination (as evidenced by the popularity of the well-known fashion brand Vivian Westwood).
4.6.2 Draping, Design Alteration, Pattern Making and Modular Piece Making
In Stage 3, 27 modular fabric pieces were produced. As Figure 7.10 demonstrates, these
11 modular fabric pieces could be used to construct Garment 3.B. Eleven other modular pieces
33
Figure 7.10. Garment modules for Garment 3.B Figure 7.11. Drawings of Garment 3.B
Figure 7.12. Garment modules for Garment 3.C Figure 7.13. Drawings of Garment 3.C
34
Figure 7.14. Extra pieces for Design 3
Figure 7.14 features five extra pieces: two rectangular pieces of a long dress that can be
exchanged with the trousers of Garment 3.C; a pair of knit sleeves which can be exchanged with
the sleeves of Garment 3.A and 3.B; and a short dress piece that can be exchanged with all of the
bottoms of garments 3.A, 3.B and 3.C. With the exception of the sleeves and the short dress in
Figure 7.14, all of the other 24 fabric pieces have two layers: one side is black artificial leather,
As previously described, each of the modular fabric pieces has two layers, one which is
artificial leather and the other a striped knit. Due to the thickness of the fabric and the
measurement requirements for adding a zipper, each modular piece needed to be wider than ten
centimeters. To clarify, during the garment production process, pieces with two layers of fabric
generally need to turn inside out after the seams are sewed. If the width of a single modular piece
is less than ten centimeters, it is difficult to turn the inside fabric out. This issue means that the
35
two separation lines on the garment cannot be closer than ten centimeters. This very problem
occurred in the modular piece-making phase, which forced the production process back and, as a
Design construction.In this collection, I had to go back and forth to alter designs not only
during the garment design and modular piece making phases, but after the design construction, as
well. For instance, Figure 7.16 provides a look at the construction of Garment 3.C in progress to
Garment 3.C should be able to connect with the bottom of Garment 3.A and 3.B. A problem
36
occurred when the top of garment 3.C did not connect with the bottom of Garment 3.A. As
Figure 7.17 illustrates, one of the zippers on the bottom of Garment 3.A could not be closed
Figure 7.16. Errors occurred with parts connection of Garment 3.A and Garment 3.B
Two sides of the zipper length were different even though the separation line was the same and
the pattern making was based on the same size. This issue identified a sewing error that occurred
when pieces with two different fabric thicknesses were assembled. This error also resulted in my
having to go back to both the pattern making and modular piece making phases in order to
37
Final Design 3
Figure 7.17 represents the completed creation, Garment 3.C. The completed garments
fully demonstrate how the zipper connection can open up unlimited design possibilities for
transformable fashion. The constructed modular pieces can be easily disassembled into
individual pieces that the wearer may separate, reconnect, exchange and use again. As shown in
figure 7.18-7.20, various styles were constructed by exchange certain modular. The intention of
the Garment 3 design was to provide as many design possibilities for the consumer as possible
by using limited modular pieces. While the final designs may prove to be too complex for daily
wearing, I suggest that this project in experimental garment design has the flexible capabilities of
this design method. The objective in creating Garment 3 was not only to demonstrate the ways
three basic garments can transform into hundreds of styles, but to explore a new design method
38
Figure 7.18.Transformable styles of Design 3
39
Figure 7.19.Transformable styles of Design 3
40
Figure 7.20. Transformable styles of Design 3
41
Chapter 5
Research Findings
5.1 Interviews
For the interviews, I approached seven fashion industry experts: entrepreneurs E1 and E2 3,
the founders of two apparel companies; entrepreneur E3, the chairman of a manufacturing
company; P1 and P2, professors of Soochow University; and D1and D2, fashion designers.
Through these interviews, I hoped to uncover the underlying views of fashion insiders and gain
their insights into sustainable fashion, transformable garments, and my Garment design 3.
3
The alphanumeric identifiers in this chapter stand as pseudonyms for the research participants
to protect their anonymity
42
5.1.1 Sustainable fashion. The participants in these interviews were asked to state their
personal opinion about sustainability in the Chinese fashion industry. Participant P1 proposed
that consumer acceptance of sustainable fashion depended on their education level, financial
capabilities and living styles. She suggested that educated consumers were more likely to
consider the long-term benefits of their purchases and would buy sustainable products, whereas
consumers with a lower education only considered the short-term benefits without a concern for
sustainability. Participants P2, E1, and D1 reported that environmental issues related to the
fashion industry in China are regulated by the government, and that fashion and textile
companies must follow certain rules and policies to avoid environmental pollution in garment
and textile dyeing processes. They suggested that most companies are unwilling to expend extra
human resources and materials to achieve sustainability after they have met the basic
environmental requirements from the government. The priority for most Chinese companies is
profit maximization, and in the fashion industry, environmental garment production increases
Participants of entrepreneur and designer also stated that they would choose sustainable
solutions only if the cost of implementing them remained the same as traditional methods.
Participant E1 explained that this attitude is common in the current Chinese fashion market
because everyone focuses on producing new and creative designs without seeing a need for
sustainability. However, six out of the seven participants believed that this perspective will
change, and that fashion producers will come to value sustainability in the near future.
43
5.1.2 Transformable design. In regards to the participants’ interest in and engagement
with transformable fashion design, three participants stated that they had designed or produced
transformable garments in the past, and their opinions on the subject were quite different.
Participant E2 thought that transformable design was inconvenient for both consumers and
producers, from both the wearing and production aspects. She believed that structural integrity is
important to garment designs, and original designs provided the best looks, stating: “A garment
is designed as a united whole, if you change parts of the design or transform it to another style, it
will look bad.” From this company owner’s perspective, there was no need for transformable
design.
Participant E1 also claimed that contemporary Chinese consumers prefer to purchase two
different garments instead of one transformable garment with two styles. He believed “new”
garments (meaning new designs and products) were most important in current Chinese fashion.
E1 also reported that he had experience producing a transformable garment that could be worn
two ways. He thought that consumers only purchased the garment because they liked one of the
two styles, and felt that mostly, consumers did not care about the transformable feature. E1
revealed that the production costs of the transformable garment increased by 15%, meaning that
he had to increase the sale price, and that there was no obvious change in sale volume. Therefore
production, and claimed that it did appeal to her customers. She related that she had produced a
variety of transformable designs, including winter garments with removable hats and fur
decorations, garments with transformable sleeves, tops with detachable skirts, and that all of
44
5.1.3 Participant responses to garment Design 3.In his evaluation of the garment
Design 3, Participant E1 suggested that it could be more creative from an aesthetic perspective.
He believed aesthetics was the most important principle of fashion design, and that designers
could not sacrifice style to achieve sustainability. Participants P1 and P2 thought that Design 3
was as good design concept, but that it needed to be simplified before it was put on the market,
as one garment with hundreds of styles provided too many options for the consumer in their daily
wear choices. They also suggested that using metal zippers as the main connection was not a
good choice because they could be uncomfortable when it directly contacts with human skin.
purchased goods. Transform options and production cost need to be balanced. It would be ideal
garments and their needs and requirements for such products. Therefore, I developed and
conducted an online questionnaire to gain insight into these issues from fashion consumers.
5.2.1 Basic demographics. The survey was open to both women and men (76.5%
females and 23.5% males), and the mean age of the respondents (N=115) was approximately 20
years old. The largest participant age group was between 20-30 years old (50.9%), and the
second largest group was comprised of 10-20 year olds (47.3%). The majority (75.7%) had
received an undergraduate degree, 15.9 % had achieved graduate level education, 5.6 % had only
attended high school, and 2.8% had college training experience. The survey covered consumers
45
Response Percentage Response Count
Age
10-20 0.466 54
20-30 0.517 60
30-40 0.009 1
40-50 0.009 1
Gender
Male 0.242 29
Female 0.758 91
Education Level
High School 0.062 7
College 0.035 4
Undergraduate 0.743 84
Graduate 0.159 18
Occupation
Government employee 0.017 2
Human resources 0.068 8
Manufacturer 0.017 2
Business and Financial 0.034 4
Teacher 0.009 1
Student 0.701 82
Artist 0.051 6
Monthly Income
1500 0.589 66
1500-3000 0.188 21
3000-5000 0.134 15
5000-10,000 0.063 7
10,000-50,000 0.027 3
Monthly Average Consumption on
Clothing
0-100 0.059 7
100-300 0.314 37
300-700 0.305 36
700-1500 0.246 29
1500-3000 0.042 5
3000-5000 0.025 3
5000-10000 0.017 2
Table 2: Online Respondents’ Demographics
experimental co-design section in which participants could design their own garment in three
different stages. The experimental design section utilized drawings of Garment 3 and provided
design choices using the modular fabric pieces that were created for this garment. The options
46
included two top modular pieces for Stage 1, twenty-four waist modular pieces for Stage 2, and
ten sleeve choices for Stage 3 (Figure 8, Figure 9). One hundred and twenty participants engaged
in this design section, and created 192 design results. Thirty-four participants submitted their
designs more than twice. As the Figure 10 demonstrates, 54.41% of the participants chose knit as
the major fabric of their design, and 45.59% chose leather. Components of 1, 12, 22 in step two
and sleeve styles of 2, 3 and sleeveless in step 3 are the top selected styles (see Figure 8, Figure 9,
47
Figure 9. Co-design choices part two
48
Step 1 choices 3.65%
Step 2 choices Step 3 choices
2.19% 2.19%
5.11%
5.11% 4.38%
2.92% 0.73% 5.84%
8.76% 36.50
45.5
24.09 %
9% 22.63%
54.4 %
1%
15.33%
11.68%
12.41% 24.09
12.41%
%
1 13 22 32 21 3
2 1 0 2 3 1 21 31
12 31 11 2 23 0
Consumers rated their satisfaction with the online design experience at averages of 3.28, 2.81,
and 3.15 out of five, reflecting their interest in the design method, satisfaction with their design
2.50 2.60 2.70 2.80 2.90 3.00 3.10 3.20 3.30 3.40
49
5.2.3 Customized garments. As shown in Table 3, 66.7% (n=78) participants did not
own personalized garments, 29.1% respondents had one to five tailored items, 3.4% participants
had five to ten pieces and 0.9% purchased more than 20 articles of customized clothes. Even
though most of the participants did not have customized garments, their answers to the following
questions indicated that they do find them appealing. A rate of 54.7% (n=64) of consumers
suggested that they liked the idea of customized garments that had selectable features such as
color, fabric, pattern and silhouette. Participants identified style, fabric, and color as the top three
elements that they would like to change, should they purchase customized garments. Moreover,
42.7% respondents enjoyed the customized design process available through the survey. Only
2.6% participants claimed that they did not like customized garments due to the complexity of
50
Regarding to customized garments, choose the options you think that are apply to you.
Answer Options Response Percent Response Count
I like customized garments, cause I can choose colors,
54.7% 64
patterns, fabrics and styles that I like
I like customized garments, cause I enjoy the design
42.7% 50
experiences
I do not like customized garments, it’s too complicate for
2.6% 3
me to design a garment
I do not purchase customized garments, because too few
shops could provide customized products. 13.7% 16
Which are the features you want to change when you purchase customized garments?
Answer Options Response Percent Response Count
Fabric 78.6% 92
Size 55.6% 65
Color 70.1% 82
Pattern 64.1% 75
Style 86.3% 101
Collar 47.9% 56
Sleeves 42.7% 50
Length 38.5% 45
Pocket 32.5% 38
Accessories (zipper, button, lining) 38.5% 45
Answered question 117
Skipped question 3
Table 5: Desirable options of customized features
51
5.2.4 Transformable garments.Ninety-seven percent of respondents claimed that they
had purchased transformable garments before, including removable hats (99/106), detachable
sleeves or trouser legs 60/92), removable collars (66/95), changeable garment lengths (29/83),
reversible apparel (91/100), and changeable colors (29/83). In addition, 36.5% (42/115) stated
that they liked the transformable garment features and used them frequently. 54.8% participants
indicated that they had used changeable features once or twice, and 8.7% claimed they had not
used these options. Eighty-one percent of respondents preferred one garment that offered one to
52
How many change options you prefer when you purchase a transformable garment?
Answer Options Response percent Response Count
0, I do not like transformable garment 8.6% 10
1-3 81.0% 94
3-10 6.0% 7
The more the better 0.0% 0
Answered question 116
Skipped question 4
Table 8. Change options of transformable garments
5.2.5 Sustainable garments.The lifespan of a consumers’ vest, t-shirt, top and dress is
generally three months to one year, and a coat or pair of trousers may last from one to three years
depending on garment construction and fabrication. The majority of participants stated that they
owned one to five vests, t-shirts, tops, coats, trousers and dresses during the spring and summer
seasons. Most of them spent one to ten dollars on a vest, 10 to 20 dollars on a T-shirt, and 20-50
dollars on a top, coat, pair of trousers, or dress. Sixty percent of participants (68/113) claimed
that they considered sustainability when they purchased garments, but that they were not very
concerned about sustainability, and suggested that they understood the principles of sustainable
53
How long is the average lifespan of your garments?
Answer less than 1 1-3 3 months-1 3-10
1-3 years 10 years Response Count
Options month months year years
Vest 3 34 48 30 2 1 118
T-shirt 0 20 57 35 2 1 115
Top 0 3 55 49 6 1 114
Coat 0 1 41 57 13 1 113
Trousers 0 3 42 65 4 1 115
Dress 2 5 41 37 6 1 92
Answered question
118
Skipped question 2
Table 10. Garment lifespan
respondents stated that they would spend 10 to 20% more for customized clothing features and
less than 10% additional price for both sustainable and transformable feature. In reference to
making future shopping purchases, 40.5% of participants stated that if the Chinese apparel
market developed more sustainable fashions, they would be open to new designs. In addition,
46.6% claimed that even though there were numerous products to choose from in Chinese
clothing stores, they still felt it difficult to find a fashion design that they were truly happy with.
54
Choose the answers that you think are applied to current Chinese fashion market
Answer Options Response percent Response Count
Various options, I always can purchase the garments I need 17.2% 20
Fashion trends change fast, new styles add on shelves every
36.2% 42
month
Fashion market changes to diversity, consumers feel confident
40.5% 47
to accept new designs
Even though there are various products, it’s still hard for me to
46.6% 54
find a design I want
Garments quality is not as good as previous time as fast
27.6% 32
fashion becomes popular
Others 6
Answered question 116
Skipped question 4
Table 12. Opinions of Chinese fashion market
Compared with regular garments, how much more you would like to spend on below designs?
Transformable
Customized design Sustainable design
design
Answer Options Response Percent Response Percent Response Percent
55
Chapter 6
Conclusions
The qualitative research that I have conducted for this study demonstrates that my
transformable garment design (No. 3) can be adapted to produce different silhouettes and styles
Furthermore, both the interviews and online survey indicate that Chinese consumers do have an
interest in transformable designs such as Garment No. 3, and may be willing to spend additional
costs on three critical features of the design: customization, sustainability and transformability.
The data additionally reveals that these consumers would like to participate more in the fashion
design process to help produce customized, transformable and sustainable clothing that better
Both the design research and pattern making aspects of this project revealed that the
design of Garment No. 3 could reflect greater sustainability in its use of fabric (e.g. leather) and
accessories (e.g. metal zippers). Details such as these helped to identify sustainable fashion as a
critical objective in contemporary clothing production; one that requires careful consideration of
sustainability at each stage of garment design. In this project, garment design No. 3 successfully
reflected sustainability in its reduction of fabric waste, extension of garment life and reduction in
overall garment consumption. If, in the future, designs such as Garment No. 3 are utilized in
combination with sustainable fabric sourcing and ethical labour practices, fashion design can be
one step closer to achieving the goal of true sustainability. My hope is that transformable design
methods will be more readily adopted by the industry and that an increasing number of designers
and consumers participate in the design process, whether they are drawn in by sustainability,
56
Appendices
Appendix A: Approval from Ryerson Ethical Research Board
57
Appendix B: Interview Consent Form
加拿大多伦多瑞尔森大学时装学院
文学硕士学位毕业论文
研究参与授权同意书
研究项目名称:
可持续时装设计——永久且多功能可拆卸式服装设计
欢迎您参与这项研究项目。在您参与前请仔细阅读此同意书以便于您了解参与研究的内容,
您可以向研究者询问任何问题以便您了解这项研究。
研究者:
主研究者:
第一指导教授:
第二指导教授:
58
Susan Barnwell 瑞尔森大学时装学院教授
研究目的:
此研究项目是通过研究可拆卸式时装设计的概念来提高服装的可持续发展性。在现有的研
究成果中,已有各种各样的设计概念可以归纳为可持续时装设计,其中包括零面料浪费设
计,高科技融入设计以及可变换设计。这个研究项目将创新一种可拆卸式设计的概念来达
到服装的可持续性运用。通过拆卸或者替换服装的不同部位来达到一件服装可以衍变成多
种款式和无限延长一件服装的寿命的目的。可拆卸式时装设计是一个新的设计创新,它能
从宏观上减少面料的浪费,提高一件服装的使用时效,扩展一件服装的功能性,并鼓舞消
费者参与到可持续性设计中。这次访谈中收集到的数据将会被用于阐述和分析可拆卸式时
装设计的商业潜力,可持续性的效果以及对审美方面的考虑。
研究方式:
一对一访谈:将选择七位时装资深人士,包括两位时装设计师,两位时装学者以及三位服
装企业家。将通过询问他们一系列问题来研究可拆卸式时装设计的可持续性,美观性,功
能性以及商业潜力。相关图片以及可拆卸式服装将会在访谈过程中展示几分钟时间。访谈
将以录音方式进行,时长大约四十五至六十分钟。
风险评估:
此研究项目并没有已知或可预测到的风险。采访过程中提出的问题将不会涉及到私人及敏
感问题。然而在采访过程中,如参与者在访谈中出现任何不适,参与者可以暂时性或者永
久性的终止访问。参与者将不会从此研究项目中获得直接利益。
利益评估:
参与者不会从这项研究中获得直接利益,但是参与者的参与将促进服装界中可持续性产品
的研发。
参与者隐私保护:
所有研究数据将被保存于安全的硬盘中,并需要密码登陆。只有主研究者及其第一指导教
授有资格进入以及阅读。在适当时期被访谈者将有机会了解研究总体结果。在访谈内容以
任何形式发表前,被访谈者可以检阅和修改访谈内容。所有数据将被保存三年后被清除。
59
研究结果将被用于研究者的硕士毕业论文,并可能在关于时装可持续性设计的相关会议及
刊物中发表。
参与者获益及自愿参与:
参与这项研究,参与者将不会被支付报酬。参与这项研究是参与者的自愿行为。如果您选
择参与,您也可以在任何时间退出或终止参与此研究。退出或终止此研究对您将不会有任
何权益的损失。在研究的任何阶段您都可以拒绝回答任何一个问题或者终止参与。
对此研究有疑问:
如果您对此研究项目有任何的问题,请联系:
主研究者:Minjie Gong(龚敏洁),加拿大多伦多市瑞尔森大学时装学院研究生部
电子邮件:minjie.gong@ryerson.ca
电子邮件:orahman@ryerson.ca电话:416-979-5000 x.6911
如果您对您的个人权益及参与有任何疑问,请联系加拿大多伦多市瑞尔森大学研究伦理委
员会进行咨询。
地址:加拿大,安大略省,多伦多市,维多利亚路350号,瑞尔森大学,伦理咨询委员会,
研究及创新副总裁办公室
邮编: M5B2K3
电话:416-979-5042
引用允许:
研究者可能会在论文或者发表刊物中引用您在访谈中的观点。关于引用的方式,请在以下
的陈述中选择是或否:
60
我同意研究者在以下情况下引用我的言语于论文发表中(点击以下任一项“是” 来确
认授予研究者的论文发表版权许可):
是 否 我同意我的观点被直接引用(姓名被引用)
是 否 我同意在不用我姓名的情况下我的观点被引用(匿名引用).
是 否 我同意在用假名的情况下我的观点被引用(假名引用)
同意声明:
以下您的签名表明您已经阅读了本协议中的信息并已有机会提出相关疑问。若无任何异议,
请签署本同意书并参与此研究。以下签名也表明您已经被告知您有权利在任何情况下退出
本研究。您将被给予此同意书的副本。
您已被告知签署此同意书的同时您并没有放弃任何您的合法权益。
____________________________________
参与者姓名(由正楷填写)
_____________________________________ __________________
参与者签名 日期
_____________________________________ __________________
61
研究者签名 日期
62
Appendix C: Interview Questions
访问对象:企业家
1. 你什么时候创办的你的公司?
2. 你从事服装多久了?
3. 你的公司销售哪些类型的服装(男装,女装,春秋,冬夏)?
4. 你们销售的服装款式有什么?哪种顾客最喜欢,衣长,袖长分别是什么?
5. 你们销售的服装颜色有什么?哪种顾客最喜欢
6. 你们销售的服装面料有什么?哪种顾客最喜欢
7. 在你销售的服装里,还有什么品牌特征吸引顾客?
8. 你感觉你从事服装以来,服装里最大的变化是什么?
9. 你有感受到服装近年来的多样化设计吗?你对多样化的设计有什么看法?你愿意接受一些
新的设计方法吗?
10. 你怎么看待功能性服装?
11. 你所销售服装里有可以拆卸的服装类型吗?
12. 你销售的服装里有没有非常相似的款式,仅仅是细节在变化,比如说一样的衣服不同的领
子,一样的外形不同的面料等
13. 如果服装的领子,衣长可以变换,你觉得你会生产吗?
14. 对服装的定价,你觉得相对于不能变换的服装,可拆卸可变化服装的做工和售价你觉得会
有什么变化?
15. 哪些类型的服装你认为适合可拆卸服装?
16. 在可拆卸服装里,颜色,图案,款式,领子造型,袖子款式,衣长,那种是最适合变换的?
为什么?
17. 如果衣服可以变化,有多少种变换方式你认为比较适合?还是说越多越好?
18. 你认为这件设计在中国有市场吗?
19. 你怎么看这件设计
20. 你认为它的优势在哪
21. 你觉得哪些地方需要改进?
22. 这种设计方法你认为在生产和销售上面可行吗?
23. 从外观上,你觉得怎么样?
24. 从功能上,你觉得它怎么样,能满足消费者的需求吗?
25. 你认为一件衣服功能性和美观的重要性应该怎么分配,怎么平衡?
26. 你怎么理解环保时装?
27. 你认为它是一件环保服饰吗?
28. 你对这些连接拉链有什么看法?其他还有哪些连接可以代替吗?
还有什么是我没有提及,你愿意补充的吗?
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Appendix D: Online Survey Questions
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