Beyond Design Instructor Guide

Instructors Guide
Copyright Bloomsbury Publishing Inc. 2012

All rights reserved. No part of this book covered by the copyright hereon may be reproduced or used in
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978-1-60901-309-7
GST R 133004424
Printed in the United States of America
TABLE OF CONTENTS
Introduction to the Text
About the Instructors Guide
What is Good Design?
11
Teaching Methodology
12
Design Rubric
25
Chapter 1: The Role of Product Development in the Apparel Supply Chain
27
Chapter 2: Business Planning
29
Chapter 3: Consumer Markets
35
Chapter 4: Trend Forecasting
37
Chapter 5: Color Management
40
Chapter 6: Fabrication
42
Chapter 7: Findings and Trim
45
Chapter 8: Garment Styling
47
Chapter 9: Line Development
50
Chapter 10: Translating Concept to Product
52
Chapter 11: Sizing and Fit Specifications
54
Chapter 12: Quality Specifications and Vendor Compliance
56
Chapter 13: The Role of Sourcing
58
Chapter 14: Pricing and Costing
61
Chapter 15: Product Distribution
63
Introduction to the Spec Pack
64
Spec Pack Worksheets
65
Test Bank
73
i
Introduction to the Text

The third edition of Beyond Design: The Synergy of Apparel Product Development focuses on the
product development process as it functions in a global manufacturing environment and marketplace.
Central to the texts organization is the definition of product development as the strategic, creative,
technical, production, and distribution planning of goods having a perceived value for a well-defined
user group and designed to reach the marketplace when that group is ready to buy. Throughout the text,
product development planning, decision making, and processes are discussed in the context of whether
the resulting product is developed for a wholesale brand, a private brand, or as a licensed brand, as well
as the size and distribution reach of a company. With most apparel production taking place in
developing countries, the segment of the industry that remains in developed countries is product
development and the jobs related to it.
The content of the text is based on interviews, workshops, and tours with companies based in the
United States, South America, and Europe. Over the past 14 years we have collected information from
the product development teams at Kohls, Shopko Stores Inc., BonTon, American Eagle, Nicole Miller,
Harley-Davidson MotorClothes, Jockey International, Target Corporation, Nordstrom, Jones New York,
Esprit Corporation, The Gap, Tommy Bahama, Ex Officio, Pacific Trail, Eddie Bauer, Cutter & Buck,
and Donna Ricco. Additional input came from SCOTDIC, Gretag Macbeth, MTL Laboratories, Intertek
Testing Services, Nike Corporation, Verit, Fashion Snoops, Anne Klein, Bread and Butter, the Color
Association of the United States, Lectra Systems, Optitex, Gerber Garment Technology, D3 Creative
Design Services, Trend Union, American and Efird, Christian Dior, and Premire Vision, New York.
Their input has helped us articulate the nuances of the apparel product development process and the
challenges that brands face in meeting consumer expectations.
Beyond Design 3E Instructors Guide
The text can be used for apparel product development or design courses with either a theoretical
or studio focus. The book takes the student through each step of the product development process,
showing how the product development team works together within the context of the larger company.
The text is targeted to college students at the sophomore and junior levels and provides enough
flexibility to accommodate students with varying learning styles. It may be used in its entirety to provide
a one-semester overview of the apparel product development cycle. Alternately, it may be used in a
more project-oriented mode over two semesters, where the first semester emphasizes the creative design
processes and the second semester focuses on the technical aspects of product development. A third
approach is to use the first half of the text for a studio design course and then a review of the first two
chapters and Chapters 915 for a course that focuses on the macroeconomic issues of the apparel supply
chain. The text assumes that basic information on color, line, and design is covered in prerequisite
courses and allows the instructor and students to supplement the process information with current trend
information that supports class activities and the processes that are being studied. The assignments can
be varied according to price point and fashion level, depending on where students typically find
employment after graduation. The processes described are applicable to jobs in the wholesale brand,
private label, or store brand sectors.
Organization of the Text

Part 1 provides an overview of the apparel industry supply chain, giving context to the apparel product
development process. Chapter 1 defines apparel supply chain terminology and establishes the
importance of apparel product development. Chapter 2 explains the business planning process that
provides a strategic framework for the development of apparel products. New to this edition is greater
emphasis on corporate social responsibility, ethics, and sustainability. Chapter 3 helps students
understand how customer needs and wants vary, as well as the techniques product developers can use to
track the shopping behaviors of their targeted customer.
Part 2 explores concepts within the creative design process. Chapter 4 discusses how fashion
trends are tracked through environmental scanning and identifies resources for long- and short-term
forecasting including trend services, trade shows, industry associations and consortiums, and retail
concept stores. Chapter 5 provides a review of color theory, explains how seasonal colors are selected,
and describes the color management process. Chapter 6 provides a review of textile characteristics that
affect the design process and discusses the importance of fabric selection in the overall design process;
the new edition also provides an expanded explanation of knit structures and variables. Chapter 7
explains the importance of findings and trim; this chapter has been moved from Part 3 to Part 2, in the
third edition, to emphasize the relationship between the selection of fabric and the corresponding
requirements for findings and trim. It covers options for support materials, findings, trims, and labels to
enhance a design, provide unique aesthetic characteristics, and adhere to safety and labeling laws.
Chapter 8 focuses on silhouette development, focusing on how styles can be varied within a garment
category. It includes an appendix of apparel design silhouettes and details. Chapter 9 discusses the
organization of a seasonal line into delivery groups that have the appropriate breadth and depth required
for the selling season. Intellectual property rights are also discussed in this chapter.
Part 3 focuses on technical design. Chapter 10 takes the design from its inception as a conceptual
sketch and translates it into a flat, a specification package, a pattern/graded pattern, and a sample
garment. Chapter 11 explores the concepts of garment sizing and fit, including the potential for mass
customization. Chapter 12 focuses on the growing importance of a quality assurance program through
the development of product standards, tolerances, additional specifications, and vendor codes of
conduct.
Part 4 addresses the production and distribution phase of the product development process.
Chapter 13 discusses the sourcing of garment components and volume production of a style. Chapter 14
provides an overview of the costing and pricing of a product to provide for both a profit for the company
and value for the consumer. Chapter 15 brings the product development process full circle, exploring
new trends in the distribution and marketing of apparel.
Discussion Questions, Activities, and Resource References

Key terms, discussion questions, and class activities at the end of each chapter will help students to
apply chapter concepts to current events in the apparel industry, and to their own experiences as
consumers of apparel. Case studies in many chapters focus on actual industry practice and profile
companies that offer unique services within the apparel supply chain. Further resources are suggested in
this Instructors Guide following the discussions of creativity, design, and teaching methodology as well
as at the end of many of the chapter by chapter suggestions for activities and projects.
Glossary of Terms and Garment Details

An alphabetical glossary of terms from each chapter can be found at the end of the text to help students
review terms presented throughout the book. These terms will help students to develop a relevant
product development vocabulary. Chapter 8 includes a pictorial appendix of garment details so that
students learn to use accurate vocabulary in describing the garments they design. An appendix in
Chapter 9 shows examples of visuals that illustrate how designers present their design concepts. An
appendix at the end of the textbook discusses careers in apparel product development.
About the Instructors Guide

The Instructors Guide was written to help instructors develop classroom activities that supplement the
use of Beyond Design: The Synergy of Apparel Product Development as a primary text. Additional
projects have been developed for instructors using the text in studio-based courses; blank worksheets
and assignment handouts may be duplicated for students. Instructors using the text in a lecture-based
course can refer to the Fairchild PowerPoint slides and sample test questions included for each chapter.
Assignments focus on chapter content while building on the content of preceding chapters;
assignments become increasingly complex as they encompass more and more of the tasks for which a
product development team is responsible. The assignments allow students to experience the decisionmaking challenges that product developers face each day and understand how their decisions affect the
final product. Grading criteria should be explained to students when the assignment is given. The criteria
can then be linked to the assessment methodology in a way that helps students identify their strengths
and work toward improving weaker areas.
Nurturing Creativity
Creativity is the new global currency. Innovation in products, services, and delivery sets businesses
apart. It is not enough for product developers to copy the competition; successful product developers
must determine what the consumer wants before she knows she wants it.
Creativity is also fragile; when nurtured, it is a capacity that develops a personality able to
synthesize interdisciplinary ideas, experiment with new combinations of elements, and discover new
solutions for problems. The following concepts will help to encourage creativity.
Creativity relies on lateral thinking

Lateral thinking is the ability to explore multiple possibilities and approaches from the seed of a single
idea, as opposed to linear thinking, which relies solely on logic to solve problems using existing rules.
Designers must learn to avoid undue attachment to their first idea and instead permit the imagination to
explore alternative approaches from different perspectives and starting pointsas opposed to a logical
progression of steps that leads to a single solution. Holistic thought, the ability to consider all aspects of
a problem and to relate concepts, is central to the creative process. Research shows that in creativity,
quantity equals quality; the longer the list of ideas generated, the higher the quality of the ultimate
solution.
Experiment with a variety of elements and combine them in new and thought-provoking ways.
Creative solutions should be meaningful to others rather than completely idiosyncratic. Encourage
students to explore ideas by substituting, combining, modifying, adapting, minimizing, magnifying,
eliminating, elaborating, editing, reversing, rearranging, swapping, and connecting. This is the
designers toolbox. Encourage students to play with each idea until it works. Structure assignments to
require multiple approaches to design briefs, and then edit those options for the best possible solution,
perhaps using the best elements from several approaches.
Creativity requires passion and a sense of humor

Design without passion for ones ideas is insufficient for todays competitive marketplace. Design is
more than just a job---its a lifestyle in which the designer is constantly observing, interpreting, and
exploring. Noted psychologist G. M. Beard found that creativity is a combination of enthusiasm and
experience. Enthusiasm is abundant early but can decline with age. Out of balance, it produces original
but unfocused work. Experience, on the other hand, grows with age. But experience without enthusiasm
produces uninspired work. Most of all, the pursuit of ideas requires persistence and determination. Not
every idea will yield a saleable finished product---a sense of humor helps!. Designers arent afraid to
fail; they recognize when an idea is not working and move on to the next.
Reliance on both verbal and visual imagery to explore an idea

Descriptive language enhances the development of a visual concept. Collections should be named to
reference the inspiration and clarify the seasonal theme; naming colors and patterns can reinforce and
support a design statement. Descriptive language suggests relationships and helps to keep a designer
focused; it also helps to sell the collection to merchandisers and buyers who may be less visual in their
ability to link themes to the zeitgeist. Sources of descriptive language can derive from nature, food
categories, song titles, and nail polish colors to name but a few references. The website
www.Fashiondex.com sells three volumes of books that offer a variety of color names categorized by
hue; these are great to have available in the classroom for reference.
Throughout the silhouette development process, students should be required to research and use
appropriate garment terminology. This will enhance their ability to relate garment silhouettes and details
to fashion trends and strengthen their presentation skills. You may require that students purchase a
fashion dictionary as part of their personal library or you may provide a variety of fashion dictionaries in
the design studio as resources.
The importance of visual language is further enhanced by selecting a font style for presentations that
expresses the feeling of the collection. Fonts can be feminine and delicate or they can be strong and
commandingor anything in between (and beyond).
Learn the power of brainstorming and sharing ideas with other creative people
Design is a competitive field; the best way to prepare for the environment in a professional design
setting is to become comfortable with sharing ideas and accepting constructive feedback.
Creativity flourishes in diverse groups. Help students to become comfortable discussing their ideas
and inviting critique. The impressions of others can inspire further exploration of an idea. Schedule
reviews for projects in-process--pre-critiquesthat provide opportunities to assess the appropriateness
of design decisions and presentation elements. These critiques provide students with a greater
understanding of how their work will be evaluated and give them a sense of how their work compares
with others. Most importantly it gives them an opportunity to edit their collection with new objectivity
before it is assessed.
Creativity can be stifled by inhibitions, criticism, environments that are too structured, and fear
of failure. Too many distractions and personality conflicts can also inhibit creativity. While creative
problem-solving requires evaluation and critique, its tone must be constructive and suggestions should
provide new insights and enhance further exploration. The process of evaluation and critique must not
create performance anxiety or abort the designers own creative journey.
Learn to identify the critical issues of a problem

Understanding the most important criteria of a design problem gives a designer more directions from
which to approach possible solutions. Design briefs generally include customer constraints regarding
price, quality, and function as well as aesthetic expectations. Encourage students to identify whats most
important in a particular design problem before they begin to design. One of the biggest challenges in
teaching design is to move students from interpreting every design problem from their own personal
point of view to that of a proposed customer. The use of mind maps (discussed later in this introduction)
is a great means of identifying important design criteria.
Be observant and allow yourself time to seek out inspiration; creative ideas require time for
incubation
Observant people are able to draw on a wide range of source material for inspiration. They take ideas
from the obvious (apparel, architecture, art, pop culture, and nature) as well as the not so obvious (a
beautifully arranged plate of food, or an old photograph). Creative people need time to step away from
their work, to see things in a different light. Getting some rest, taking a break, looking at things that are
seemingly unrelated to the task at hand often results in fresh ideas and new approaches; research
indicates that regular breaks can actually shorten the time needed to complete a project.
Resources (Creativity, Color Names, Fashion Dictionaries)

Ambrose, Gavin and Paul Harris. 2007. The Visual Dictionary of Fashion Design. Lausanne,
Switzerland: AVA Publishing SA.
Calasibetta, Charlotte Mankey and Phillis Tortora. 2003. Dictionary of Fashion. New York: Fairchild
Books.
De Bono, Edward. 2008. Creativity Workout. Berkeley, CA: Ulysses Press.
Dictionary of Fashion and Fashion Designers. 2008. New York: Thames & Hudson.
Fashiondex. Color Book, Volumes I, II, & II. New York: Fashiondex.
Gavenas, Mary Lisa. 2008. The Fairchild Encyclopedia of Menswear. New York: Fairchild Books.
Gray, Dave, Sunni Brown and James Macunufo. 2010. Gamestorming. Sebastopol, CA: O-Reilly Media,
Inc.
Ireland, Patrick John. 2008. New Encyclopedia of Fashion Details. London: Batsford.
Jennings, Tracy. 2011. Creativity in Fashion Design. New York: Fairchild Books.
Mller. Florence. 2008. Fashion Game Book: A World History of 20th Century Fashion. New York:
Assouline Publishing.
Newman, Alex and Zakee Shariff. 2009. Fashion A to Z: An illustrated dictionary. London: Laurence
Kin Publishing Ltd.
Sherwin, David. Cincinnati, Ohio: HOW Press

Stalder, Erika. 2008. Fashion 101: A Crash Course in Clothing. San Francisco: Zest Books.
Vergani, Guido (editor). 2010. The Fashion Dictionary. New York: Baldini Castoldi Dalai, Inc.
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What Is Good Design?

One of the challenges in teaching any design-based course can be summarized in the question What is
good design? Students challenge us with the argument that good design is in the eye of the beholder,
that it is more about personal taste and style. But this book is based on the premise that there are
principles of good design, including:
Good design is an expression of its time and the values of the society that produced it.
Good design stands the test of timeit is remembered as representing a way of thinking,
whether it is in or out of fashion.
Good design has integrity and fulfills a purpose.
Good design identifies a need (the design problem), the constraints associated with that need,
and then explores all of the facets of the need in order to solve the design problem.
Good design should enhance the wearer; its main purpose should not be to shock, camouflage,
or impress.
Bad design is complex beyond necessity and may not function. Bad design tends to be forgotten.
Resource:
Aspelund, Karl. 2010. The Design Process. New York: Fairchild Books.
Antonelli, Paola. 2008. Design and the Elastic Mind. New York: The Museum of Modern Art.
Johnson, Micahel. 2002. Problem Solved. New York: Phaidon Press Inc.
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Teaching Methodology
Design assignments and projects have been suggested for each chapter in order to emphasize a particular
step in the product development process. These assignments may be varied through the choice of target
customer, category, price point, and fashion level in order to adapt them to the apparel industry needs
that a particular college or university serves.
Assignments have been created in a variety of formats that require different materials and
technology so that instructors can fulfill the objectives of their schools curriculum and utilize available
resources. Sketchbook assignments focus on design development, encouraging students to develop a
facility for using the croquis figure. Some assignments help to refine product development skills on the
computer. Other assignments focus on design research and design presentation skills. Where possible, it
is a good idea to allow students some freedom in selecting their target market, category, and price point.
When individuals are inspired by their own interests, they devote more time and energy to the project;
they expand their exploration of new materials and ideas; and they come up with more creative
solutions. On the other hand, it is important for students to explore a variety of markets so that they gain
confidence in applying their design skills to different customers and price points. They must understand
that a career in design is about designing for the customer identified in the strategic plan; job
opportunities dont always appear in the markets of our choice.
The activities you assign will depend on class size; the resources available within your school
and geographical location; and your personal teaching style and workload. Whichever assignments you
choose, be sure to explain them until every student understands what is expected. It is helpful to
distribute the grading criteria when assignments are given so students have a clear understanding of how
they will be evaluated. Students appreciate seeing examples of presentation formats from previous
classes to clarify their understanding of the assignment and give them a visual foundation for their own
work. Examples should show several different ways of solving the same problem.
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Group Assignments
Group assignments are a valuable means of teaching students how to operate as a team, in an
environment that resembles most product development departments. Students tend to work best when
ample studio time is available for them to work in class. Given the typical college students heavy work
schedule and other outside obligations, group assignments can be frustrating when it becomes almost
impossible for students to meet together outside of class.
Cumulative Assignments
When studio time is limited, cumulative assignments can be a means for students to build a design
project over the course of the quarter or semester. They may start by determining a target customer and
familiarizing themselves with that customers preferences. The following week, they might be required
to develop a color story for a specific delivery within a seasonal line or a color story that evolves
through multiple deliveries with the seasonal line. This would be followed by decisions on a fabric story,
development of silhouettes, editing the group, and development of a spec package that includes technical
flats and callouts, research on findings and trims, decisions regarding thread, stitches, and seams, and
determination of fabric and garment testing. The drawback of this approach is that students apply their
knowledge to a single design problem rather than experiencing the nuances of designing for a variety of
target customers at different price points. This approach also may not be realistic in teaching students
the pace of work in product development departments, where designers work on multiple deliverables
simultaneously and must meet tight deadlines.
13
Cooperative Assignments
The development of cooperative assignments with industry practitioners gives students the experience of
working within the constraints of real business scenarios. These assignments are easiest when there are
companies in your immediate vicinity willing to share their time. If obvious local opportunities do not
exist, consider partnering with successful alumni. Video conferencing can be used to introduce the
assignment, define the design problem, and determine constraints and parameters. Students can
complete their research and develop design solutions, which may be sent through the mail or delivered
electronically for critique. Cooperative projects are enhanced when a budget can be set aside to bring the
designer to campus for the critique, or to organize a field trip during the assignment for students to visit
the designers work environment. Ideas for cooperative assignments have been included in the chapter
notes that follow.
Sketchbooks and Visual Journals

A variety of different formats can be used to present design ideas. Sketchbooks and visual journals are
excellent tools for exploring design inspiration and resulting ideas. The sketchbook or journal should be
a part of the students design portfolio. They show a potential employer how the candidate works with
ideas, where he or she looks for inspiration, and how prolific the designer is. Finished presentations may
be in the form of a journal, a series of boards, or a digital presentation.
Sketchbooks and visual journals are the vehicle by which designers collect and organize their
ideas. Ideas may be collected as tear sheets, swatches, and color chips that are organized in a hands-on
format or collected and organized digitally. Format preference may be personal or determined by
whether an individuals most accessible trend resources are in a digital or printed format. In a design
class, where students have already developed sketching ability, they should be expected to keep a
14
sketchbook that shows how they collect ideas and the process they go through to complete a collection.
In a product development class where sketching is not part of the curriculum; student research may be
collected in a visual journal. Sketchbooks will have a stronger focus on expressing original ideas as
croquis sketches; the initial sketch may incorporate the overall silhouette or just an interesting detail.
Visual journals focus on observing whats in-store and comparing that to seasonal trend reports to
predict what the customer will want in upcoming seasons. Both are a place to record observations of
clothing and articles of inspiration on a daily basis. Impressions and ideas must be recorded quickly and
in enough detail to capture their essence; notating visuals with words and measurements helps to clarify
an observation.
Both visual journals and sketchbooks are places to collect tear sheets, color chips, fabric
swatches, textural materials, interesting photos, postcards, pages from exhibition catalogues, movie
tickets, travel brochures, and any other materials that provide inspiration. Whether ideas are recorded as
sketches or as images in a journal, students will begin to see patterns that help them predict what trends
are emerging and those that have reached a saturation point.
A person does not need to be a great illustrator to be a good designer; practice and repetition will
improve a designers illustrating skills. Encourage students to develop a personal style that is
comfortable and fairly consistent throughout a sketchbook. In order to maintain accurate body
proportions, many designers work over underlay figuresa croquis or flat template.
It may be helpful to keep several sketchbooks or journals going at the same time. A small,
pocket-sized sketchbook can be carried to record garment details observed on the street, in stores, or to
sketch design inspiration when it strikes. A larger sketchbook is great for design development. An idea
from a magazine or collection can be sketched and then morphed and developed into original ideas that
grow out of the initial inspiration. Whether you require your students to keep a visual journal or a
sketchbook, consider requiring that they observe and collect the following types of information:
15
Environmental Scanning. Ask students to make note of current political, economic, and
cultural events in the news. They can do this by collecting articles on current events or keeping a
mind map of topics they hear about in the news. In doing so, they will see links between current
events, historic references, cultural and pop culture trends, and fashion trends. Color
Observations. Ask students to make note of color groupings they observe in-store, color
projections they read about in periodicals or online, and colors they observe being promoted in
cosmetics, accessories, advertising, interiors, new automobiles, etc. Create opportunities to share
this information in class discussions so students can learn how to make connections from each
other.
Fabrication. Require students to make notes on new fabric developments from periodicals such
as Womens Wear Daily, Textile View, and View 2. Encourage them to check the fiber content on
garments they like when shopping; they should note differences in fiber content, color/pattern,
and fabric hand in similarly styled garments at different price points. This exercise will help
them to be more specific in describing fabric in their own fabric stories.
Swatches can be collected from trips to the fabric store, online swatching, cast-off clothes,
and swatch bins at the design studio. Each swatch should be stapled or taped to a notecard with
notations on price, width, and fiber content so that when a swatch is used as part of a collection,
the student can assess whether its at an appropriate price point, whether the care requirements
suit the target customer, and how much yardage a specific style might require.
Encourage students to explore beyond local fabric stores; online resources for fabrics such
as www.moodfabrics.com and www.denverfabrics.com often provide more fashion- forward
options.
Silhouettes and details. Students should constantly track silhouettes they see in-store, watching
those groups and styles that sell quickly and those that end up on the sales racks. Ask that they
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contrast their observations at local stores to the fashion coverage in periodicals and online. This
will help them to assess where any given brand is in the fashion cyclewhether the brand is
fashion forward (introducing new trends) or waits for a trend to be confirmed. Students should be
constantly challenged to assess which styles are on their way in and which are on their way out.
Encourage students to categorize images by garment detail rather than silhouette. A jacket filed
for its interesting collar or sleeve detail is more likely to be re-interpreted as a new design than if
it is filed as a jacket silhouette.
Brand Imaging/Brand Portfolios. In this section of the journal, students should track articles
that discuss brand acquisitions and new approaches to brand imaging (for example, JC Penneys
soft transition to a JCP moniker and a shift from promotion-based pricing to an everyday low
pricing strategy).
Apparel Distribution. Have students analyze brand and retail websites regarding
ease of use, customer service, assortments, and assistance in identifying desired merchandise.
Ask them to assess stores being remodeled in the geographic areahow are the renovations
geared to increase business? Have them make note of interesting promotions used to lure
consumers into buying.
Sketchbooks and visual journals are cumulative collections of ideas. An alternative means of
organizing research is to document the thought process for a particular design group as a working
journal. It may start with photos and textures that suggest a theme or mood. As the theme develops,
several pages of the journal would explore color and color harmonies that relate to the theme, followed
by research on fabrics and, finally, a series of pages that show design development on croquis figures.
The idea of a working journal is to package the sketchbook pages that document the thought process
for a particular collection. Sometimes potential employers are more interested in looking at a working
journal than a finished presentation, because it tells them how a job candidate processes information.
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Presentation Formats
There are a variety of options for final presentations, each with its own advantages. Many corporate
product developers still present their seasonal concepts and collections on boardslarge pieces of foam
core on which visuals and/or sketches are mounted. Boards are a vehicle to teach students layout
techniques. The disadvantage of using big boards is that they dont translate well into portfolio pieces.
Presentation journals showcase work in the form of color copies, bound together in a booklet or
more individual format. Artistic students may use scrapbooking or book-making techniques to
individualize a presentation. A working journal and a presentation journal can be paired together in a
portfolio to show a designers process. The creative level you choose to require will depend on the art
background of students, resources available, and the expectations of employers who recruit from your
student population. Presentation journals are used in some corporate settings so that copies can be
distributed to appropriate stakeholders, i.e. merchandisers, designers, technical designers, buyers. For
student designers, the advantage of a journal format is that it is portable. From the body of his or her
work, a student can select the presentations most appropriate for a particular interview.
Digital presentations are a good option when a high-quality color printer is not available. Digital
presentations are cost effective, portable, and easily edited for interviews; however, requiring only
digital presentations may leave students ill-equipped if they are required to create boards or journals on
the job. No matter what the format, seasonal design presentation should include a customer description,
followed by a theme, color story, fabric story, and silhouettes illustrated as filled flats. Colors should be
named and fabrics should be identified by their content, width, and price. Either a wholesale or retail
price should be projected to ensure that garments within the collection are appropriate for the target
market identified.
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Tools for the Creative Classroom

Students in creative studio courses require clear design briefs, explanations that encourage them to
contemplate solutions laterally rather than linearly, and the time and space to explore. The following
tools may be helpful in structuring a studio-based class.
The Design Brief

In a classroom environment, assignments are generally designed to focus student learning on a particular
aspect of the product development process. These design problems are often referred to as a design
brief. Classroom design briefs should parallel the expectations of brand product developers. They
might include:
Project overview and background
Target customer (e.g., toddlers, boys, girls, mens, missy, petites, plus size, juniors, tweens)
Price point
Season
Collection scope (garment category, assortment plan)
Required Elements
o Concept
o Customer profile
o Color story
o Fabric story
o Technical flats (callouts, filled or unfilled, hand or computer)
o Illustrations
o Presentation format
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o Pricing (wholesale or retail)
Due date (pre-critiques and final presentation)
For any given assignment, all of these elements may be defined or some may be left up to the designer.
For example, the assignment may require that the student select the target market and determine the
appropriate price point. Project ideas are suggested in the next section of this guide.
Mind Maps
Mind maps are a great visual tool that can be used to engage students in brainstorming activities. A mind
map is generally arranged around a central idea, with related elements radiating from that idea and
arranged intuitively according to importance. They help students to organize ideas, visualize design
parameters, and solve problems.
Two blank mind maps have been included in this guide (see below). The first invites students to
explore the zeitgeist as a tool for understanding how current events shape fashion trends. The second is a
blank template that can be adapted for assigned design briefs. They were developed in Adobe Illustrator.
Free mind mapping software can be downloaded from the Internet; however, it may be challenging to
import free software for classroom use, depending on your institutions firewall and policy on software
downloads.
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Design Menus
Another technique that helps students to focus their creative ideas is to require them to create a design
menu. A design menu is a list of four to six words or phrases with related visuals that illustrate the
designers inspiration. A song title might suggest the influence of a particular decade; an artist or piece
of art may suggest a color palette; a television show, movie, or play could pinpoint an influential look; a
muse or icon from a particular period might suggest a style. The design menu and related visuals
become the concept board from which the designer works to determine the color story, fabric story, and
silhouette development that follow.
Classroom Presentations
Microsoft PowerPoint is commonly used to present classroom content; PowerPoint presentations have
been provided to correlate with each chapter of this text. When used to present creative content,
PowerPoints should be very visual with a focus on imagery rather than verbiage. Each slide should
express a single idea prompted with a word or phrase and image rather than a bullet-laden slide that the
instructor reads verbatim. Even with these caveats, students in creative classes may find content
presented in the linear, stacked slide format of PowerPoint less than stimulating.
Pecha-kucha is a global phenomenon that can help students develop the skills to make more
compelling PowerPoint presentations. The pecha-kucha method focuses on design and deliverythe
presenter must use 20 slides, each shown for 20 seconds, while they tell their story in sync with the
visuals, resulting in a 6-minute, 40-second presentation. The technique requires that presentations are
brief, to-the-point, and practiced. Further information can be found on the pecha-kucha site at
www.pecha-kucha.org.
Prezi is a non-linear, web-based alternative presentation software. It allows authors to collect all
of their ideas on a virtual canvas and arrange them into a presentation by zooming in to single ideas and
22
zooming out to convey the big picture. Educators and students can sign up for an educational license at
no charge. Prezi users are encouraged to share their presentations with the public, which gives new and
experienced users interesting templates to adapt in their own presentations. Prezi is a great example of
the creative commons at work, allowing educators to share their presentations with others anywhere
around the globe. Prezi offers excellent tutorials for new users on its website, www.prezi.com. In
addition, the book Prezi for Dummies was published by Wiley in 2010.
Oral Critiques
Oral critiques on design assignments help students to understand different perspectives and increase
their sensitivity to a variety of customer needs, creative styles, and methods of presentation. A
preliminary critique prior to the final deadline can be very helpful in giving students an opportunity to
incorporate suggestions from the instructor or classmates before a grade is assigned.
It is important to involve all students in the critique and to provide a means of de-personalizing
their comments. It may be useful to ask students who are critiquing another students work to play the
role of a buyer for a store that might carry a line for the target customer the designer has identified. This
technique allows students to make business choices about the styles they would buy for their store
and eliminates any hard feelings that might occur.
The designer should identify the target customer and price point and then describe each item in
the group he or she is presenting. Other students identify themselves as a buyer from a real store with
which they are familiar. They need to buy some items in the line and not others, stating the reasons for
their decisions. Once students become accustomed to critiques, they learn to value them and look
forward to what they can learn from the responses of others.
23
Grading Rubrics
A challenge in grading creative work is to have a rubric that students understand and learn from. The
following method makes grading a little more objective. Define the criteria that will be used for
evaluation on any given assignment. List those criteria in column one of your rubric. A second column
can be used for the points earned, and a third column leaves room for constructive comments relating to
an individuals efforts. Develop a point system that gives students a grade for each criterion, for
example, A = 7; A or B+ = 6; B = 5; B or C+ = 4; C = 3; C or D+ = 2; and D = 1. Using this system,
students understand the criteria they will be graded on ahead of time and can feel good about getting an
A on creativity or coordination, even if their flats were less successful. The scores can be averaged
together for a project grade that is clear, fair, and easy to justify. Examples of appropriate criteria follow:
24
DESIGN RUBRIC
Assessment Criteria
Points
Comments
Creativity: Unique source of inspiration;

numerous ideas explored before editing;
exhibits lateral thinking; explores multiple
aspects of the design problem
Documentation of design research: Consults
numerous design resources before beginning
to solve design brief; combines use of both
primary and secondary resources to study
inspiration/trends, target customer, color
palette, fabrics, silhouettes, and details
Design process/methodology: Design
problem is clearly defined and design
constraints identified; design research and
conceptualization is focused for customer;
design ideas are explored and refined; were
ready for critique; tested to the extent
possible; and edited
Target market: Customer is clearly defined
regarding demographics, lifestyle,
generational characteristics, fashion and
function preferences, and price point
Design concept or theme: Relates to target
market and seasonal fashion projections
Color palette: Interpret color forecasts for
target market, garment category, and type of
line (separates or coordinates); include
correct Pantone numbers; colors within
group relate to one another for coordination
and merchandising while providing
sufficient options for different customers
Fabrication: Appropriate choice of fabrics
for given season, target market, type of line
(separates or coordinates), and price point;
fabrics within group coordinate to
encourage the purchase of multiple pieces
and merchandise on the sales floor or
website; care requirements appropriate for
target customer
25
Flats and silhouette development: Both front

and back view are illustrated; garment
functions as designedclosures, style lines,
and shaping devices are thought through;
appropriate to target customers figure type;
and clearly illustrated; construction
appropriate to price point; silhouette and
details relate to seasonal trends; flats are
filled with appropriate fabric; callouts used
to magnify construction details
Details: Top stitching, embroideries,
appliqus, or other trims clearly defined and
designedincluding stitch and thread type
and size, specific colors and color
placement, findings or trim specifications,
and motif of embroidery or appliqu, etc.
Coordination: Variation of silhouettes
within group is appropriate for range of
customers within target market; silhouettes
in group lines pair well together to
encourage a single customer to buy multiple
pieces; appropriate balance within group
between tops and bottoms, long and short
lengths; fitted vs. loose; sufficient selection
for multiple stores in the same area to buy
the line somewhat differently
Timeliness: All preliminary and final
deadlines met
Professional presentation: All required
elements included; presentation format is
neat and clean; labeling uses correct spelling
and grammar; layout is well designed with
appropriate weight given to various
elements so that concept reads logically;
fabric swatches are uniformly cut and
mounted in the lengthwise direction
Oral presentation: Collection is presented
with confidence using appropriate customer
and garment terminology; presenter exhibits
a professional demeanor in appearance and
delivery; presenter is able to address
questions regarding the collection presented
26

The purpose of Chapter 1 is to explain the importance of the product development process within the
context of the global apparel supply chain. The chapter defines supply chain terminology and makes
students aware of the changing dynamics within the supply change and the impact of globalization.
Students learn to differentiate between product developers of wholesale brands, private brands, and
licensed brands. One of the strengths of the text is that throughout each chapter, process differences will
be noted in relation to these categories of product developers.
Suggested Class Activities, Assignments, and Projects

1. Ask students the following question: As you read this chapter and learned about how the apparel
supply chain works, how did your perception of what a product developer/designer does change?
2. Develop case studies or ask student groups to develop case studies that focus on product developers
that have actively pursued either a growth or divestment strategy. The Liz Claiborne Company is an
excellent example of horizontal integration followed by a divestment strategy. American Apparel
and Zara are interesting companies to study for their approach to vertical integration. Ask students to
assess why a company is either a) selling assets, b) making an acquisition, or c) offering a public
stock option. Encourage them to become familiar with the various types of industry growth
companies that are expanding through vertical or horizontal integration, or diversification.
3. Ask students to begin a file of career opportunities and job descriptions. Copy ads from Womens
Wear Daily, websites, and those forwarded to your school. Reading these announcements will
reinforce to students the need for a wide variety of product development skills.
4. Comparison Shopping Exercise: Ask students to compare a wholesale brand, private label, and store
brand product geared to the same target customer. Their analysis should include a comparison of
price, aesthetics (color, fabric, styling, and details), and fit. Use their findings to spark a discussion
27
about whether they believe that either wholesale brands or private brands have an advantage in any
of these criteria. Ask them to identify their favorite brands.
5. Ask students to go to local discount stores such as Walmart, Kmart, Target, and Kohls. With the
help of store personnel, ask students to identify the stores private labels. This research can also be
done on the Internet.
6. Using the Internet and shopping in actual brick-and-mortar stores, have students develop a list of
brands categorized as a wholesale brand, a private label, a store brand, or a licensed co-brand or
exclusive brand.
7. Identify regional product developers located near your school.
Identify whether they produce wholesale brands, private labels, store brands, or licensed
goods.
Discuss their growth strategy over the past ten years.
Discuss job opportunities with these companies.
Discuss the computer programs used by these companies.
8. Review the role of auxiliary businesses (i.e. trend services, textile/garment testing services). Make
sure students understand their role in the apparel supply chain. Invite a local product developer to
speak to the class. Ask the developer to discuss which functions he or she contracts out to auxiliary
businesses and how those relationships work.
9. Ask students to scan resources such as Womens Wear Daily, Just-Style.com, and Apparel Magazine
and note which companies have made recent technology decisions. What technologies are they
implementing, and what impact do they hope the technology will have on their product development
process?
28

Chapter 2 focuses on business planning and gives students an understanding of the types of planning
decisions made at different levels of the organization. It is important for students to understand that
decisions about target market, price point, brand portfolio, and distribution are made at the very top
management levelsnot by the design team.

1. If there is a product development company located in your geographic area, invite a merchandiser or
planner to visit class to talk about his or her job.
2. Ask students to research some major product developers and retailers on the Internet. Ask them to
list the brands managed by product developers; to identify the store brands and private label brands
of retailers; and to research the number of stores that make up a retail group. Students will be
surprised to learn the breadth of the brand portfolios managed by such companies as Jones Apparel
Group, Kellwood Corporation, and VF Corporation. They should also understand the scope of retail
product developers such as The Gap, The Limited, Walmart, Kohls, and Target Corporation. They
need to be able to distinguish the store/private label brands from the wholesale brands that these
retailers may also carry. It is also important for students to understand the number of stores,
nationally or globally, that a single product developer supplies. Class discussion may revolve around
the following questions:
How does the product developers job change when the product developed has such wide
distribution?
With fewer and fewer large companies developing more and more of the apparel in the
marketplace, is there a risk of sameness?
29
Why are so many retailers expanding their private label programs? What are the advantages
of the private label? What are the risks?
3. Ask students to select a wholesale brand or retail product developer and research that developers
mission and vision statement(s) and corporate values. Require them to research some aspect of that
product developers strategic plan and do a mini-paper (45 pages in length) or pecha-kucha
PowerPoint presentation analyzing whether the strategic initiative is compatible with that companys
mission, vision, and values. Strategic initiatives might include:
Financial plan (sales goals, profit goals)
Target customer
Brand portfolio
Brand image
Breadth and depth of product mix (plans for brand extensions)
Channels of distribution
Strategic partnerships
Growth opportunities (vertical integration, horizontal integration, diversification, divestment)
Corporate culture
Corporate social responsibility
4. Have students study the line plan for a single category of store brand or private label garments. Web
sites or catalogues will be more apt to show the entire line as opposed to stores, which are
merchandised differently depending on geographic location and target market. Have them select a
basic category, such as mens dress shirts, childrens sleepwear, or womens sweaters or jeans.
Within that brand and category, students should identify all available styles, making note of the size
range and color assortment. Have them create a line plan summary based on the styles currently
available and indicate the total stock-keeping units (SKUs) for the line plan.
30
Note: A catalogue such as Lands End works well for this exercise. Each student or group of
students can analyze a different category of garments.
5. Product developers must understand price point limits for their target market. As a class, ask
students to complete the Target Pricing Worksheet (see end of Instructors Guide, after individual
chapter notes). Assign groups of students to shop each price zone and make notes listing the stores
they shopped, the brands they found, and the prices for blouses, sweaters, jackets, skirts, and pants.
Students should record the original price, not the sale price. Their results should be shared in class
and recorded on a master list. From that master list, a price range should be determined for each type
of garment within a price zone. The instructor can then pull together the results for students to use as
a handout. This assignment could be done for spring/summer and fall/winter, as price points for
fall/winter may be more expensive due to the use of more expensive fabrics.
Notes:
Categorizing brands into price points is an inexact science. Different stores may place the same
brand in a different category. The following definitions have been used for the Target Market
Pricing Worksheet.
Prior to sending students out to complete the Target Market Pricing worksheet, be sure to discuss
which brands fit into each price point category. Help students identify local stores that are most apt
to offer apparel at each price point. If designer stores are not accessible in your area, students may
do their research on the websites of specialty stores such as Neiman Marcus, Bergdorf Goodman,
and Saks Fifth Avenue. Before completing the worksheet, you may want to add brands or re-classify
brands as a class.
Definitions of Price Point Categories

Designer Designer brands represent the highest ready-to-wear price point. Most are global brands
that may be based in Paris, Milan, London, or New York. The customer is most likely 35 or older
and leads a somewhat more traditional lifestyle than the contemporary designer customer.
Contemporary Designer This price point is very similar to the bridge price point (see below),
ranging even a little bit higher. The styling is edgier and the fit a bit younger. These brands are
aimed at a fashion-forward customer with economic means, who finds traditional designer brands a
bit too stodgy for their lifestyle. These brands appeal to a range of customers age 2545 and beyond.
Bridge The bridge price point was introduced as an intermediate step between better and designer
apparel. As such, it is significantly more expensive than better but less expensive than designer.
31
Similarly, styling is more fashion forward. The fit for bridge brands is geared to more of a middleaged customer who prides herself on keeping fit but no longer has the figure of a young woman.
This price point has become increasingly less important as work environments have become more
casual, and brands that formerly were positioned in this category were sold and relaunched at lower
price points. Many stores now include these remaining brands in their Contemporary Designer
assortments.
Better The better price point focuses on career apparel and weekend wear for the career woman.
Fabrics and styling are better quality and more fashionable than those used in moderate, but not as
trendy or expensive as what is found in the bridge or designer contemporary market.
Moderate Moderate price point brands are generally found at department stores and mid-price mass
merchants such as Sears, JCP, and Kohls. Prices range from the high end of the discount/mass
merchant price point to just under the better price point. Styling is geared to a value-minded career
customer and/or a family-oriented customer who wears their clothes more than a season and
prioritizes practicality over trendiness.
Contemporary Fast Fashion These brands may be geared to a market ranging in age from 1635 or
older. The focus is on styling derived from the runway, with short product development calendars
(68 weeks), and generally priced using an everyday low price strategy. This pricing strategy is
possible because new merchandise is delivered weekly; items stockout and are replaced with similar
but new merchandise.
Juniors These brands are aimed at a 1321-year-old market, filling the gap between youth sizing
and styling and misses sizing and styling. Odd-number sizing is used (011); skinny cuts and a snug
fit is characteristic; styling is geared to the high school/college lifestyle. There is some overlap
between contemporary fast fashion brands and junior brands.
Tweens Brands aimed at pre-teens and the younger range of the teen market (714). These lines are
styled for girls for whom junior apparel is deemed too provocative, fit for bodies that are beginning
to mature, and priced for girls who dont wear their clothes for more than a season.
Discount/Mass Merchant This market is composed of primarily private brands designed for mass
merchant stores such as Walmart, Kmart, Target, and Shopko. Each retailer typically offers a variety
of brands; each brand is aimed at a somewhat different age/lifestyle market, all at value-oriented
price point. Low prices are achieved through the high volume of their distribution.
32
Target Market Pricing Worksheet

Price Point
Stores where found
Brand
Examples
DESIGNER RTW
(Neiman Marcus,
Saks Fifth Avenue,
Bergdorf
Goodman)
Donna Karan,
Calvin Klein,
Ralph
Lauren,
Armani,
Chanel,
Christian
Dior, Prada,
Jean Paul
Gaultier
CONTEMPORARY
DESIGNER
(Neiman Marcus,
Saks Fifth Avenue,
Bergdorf
Goodman)
Tracy Reese
Diane Von
Furstenberg
Nanette
Lepore,
Catherine
Malandrino,
MARC by
Marc Jacobs
M. Missoni
Helmut Lang
Elie Tahari,
Lafayette
148,
Eileen Fisher
BRIDGE
(Bloomingdales,
Macys)
BETTER
(Department
Stores)
Jackets
Blouses
Sweaters
Skirts
Pants/Jeans
Jones New
York, Nine
West,
Lauren by
Ralph
Lauren,
DKNY, Kors
by Michael
Kors
33
MODERATE
(Department Stores,
Kohls, JCPenney,
Sears)
Chaus,
Sag Harbor,
Emma James,
Apartment 9,
Sonoma,
Daisy
Fuentes,
Arizona
FAST FASHION
CONTEMPORARY
(H&M, Zara, Club
Monaco, Urban
Outfitter, Forever 21,
Top Shop, Uniqlo)
French
Connection,
Free People,
BCBG
JUNIOR
(Express,
PacSun,
Wet Seal,
Charlotte Russe,
Hollister,
Abercrombie &
Fitch, American
Eagle, Aeropostle,
dELiA*s)
Fubu,
Candies,
Rampage,
Kardashian
Kollection,
Rocawear,
Guess,
Mudd, LEI,
Paris Blues
TWEENS
(Justice,
Old Navy, Gap Kids)
Roxy Girl,
Mary-Kate &
Ashley,
XOXO,
BCBG Girl
DISCOUNT
(Kmart, Walmart,
Target, Shopko)
Merona,
Jaclyn Smith,
George,
Faded Glory,
Metro 7,
Xhileration,
Cherokee
34

The purpose of this chapter is to help students understand that product developers create products for
specific segments of the marketplace. The goal is to get students to think from a business rather than a
personal perspective.

1. Have students research the demographics and psychographics of their hometown and analyze how
the retail mix in that area reflects the needs of the community.
2. Have students select a fringe market with which they are unfamiliar. Invite a panel representing that
market to serve as a focus group. Ask students to study the market through readings, interviews, and
the Internet. In preparation for the focus group, students should develop a list of questions in order to
learn more about the markets apparel needs. After the class meets with the focus group, ask them to
design a collection of garments geared to this particular market. Invite the focus group back to
critique their projects.
Note: Suggested markets include maternity, over 50, flight attendants, hospital service staff, and
career wear for bankers. Sometimes these projects can be developed in cooperation with an
organization that is seeking to make a change in its uniform.
3. Ask students to develop a target market profile for a consumer group for which they would like to
design. It should include:
A mood picture or collage that visually describes that target market
A narrative that describes the market using demographic, psychographic, and generational
cohort terminology
The retail price point for the range of garments offered
Stores where the product might be purchased
Other brands with which this line would compete
35
4. Assign each student or group of students a catalogue. Ask them to analyze the merchandise photos,
the merchandise descriptions, and the prices. From their analysis, ask students to describe the target
customer for that catalogue by demographics (age, gender, education, family life stage, income),
psychographics (lifestyle, hobbies, interests), and generational cohort group. They should find that
catalogues geared to older consumers and active sports (golf, tenniswear) are packed with more
product information. Catalogues geared to fashion-driven customers use more emotional language to
relate the product to current fashion.
36

Chapter 4 provides an overview of the trend forecasting process. Some companies are organized so that
a single trend department conducts research for multiple product categories; in other companies the
product development/design team does its own trend research; in still others the director of product
development and perhaps the merchandiser are responsible for the research. In the latter case, they may
rotate the designers who accompany them on their shopping trips and supplement overseas trips by
sending designers on domestic shopping trips. When design directors and merchandisers are responsible
for trend research, they frequently have larger budgets with which to buy sample garments. When
designers conduct their own research, they rely on photos and sketches to remember the ideas theyve
seen. Designers tend to have smaller budgets with which to buy samples. Aspiring designers must
develop the ability to see an idea and make it their own rather than attempting to re-create exactly what
theyve seen.

1. Ask students to keep a fashion journal tracking seasonal trends throughout the semester by scanning
fashion newsletters, websites, and periodicals; observing retail displays and windows; and tracking
promotions and advertising. At the end of the semester, ask students to predict the future of the
trends they tracked for the coming season.
2. Ask students to develop an idea chain for a current fashion trend. Identify a trend and compile a list
of ideas that help to show how the trend originated. What designers, celebrities, and fashion leaders
have been associated with the trend? Has the trend been promoted or featured in a movie, television
show, or music video? Research the history of the trend. Could the timing of this trend relate to
situations and circumstances that are similar to the last historic period in which the trend appeared?
37
Is there some political, social, or cultural significance as to why the trend resonates with consumers
now?
3. Ask students to visit stores and analyze the prevalent color schemes being promoted. Are there
similarities in the colors shown at upscale department stores, chain stores, and discount stores?
Describe the similarities and differences noted at different price points.
4. Have the class develop a list of websites and resources available on campus that can be accessed for
fashion forecasting information. Locate sites using search engines and note sites mentioned in
fashion periodicals. After perusing each site, students should make an annotated list noting the
strengths of each site. Have them bookmark the sites on their computers and check them regularly.
Note: A list of resources can be developed by the instructor asking students to add to it and annotate
the list or the development of a list can be adapted as an in-class assignment or homework.
Ultimately a master list should be developed as a class resource.
5. Have students visit a local art museum or gallery and select one piece of art as a source of inspiration
for a series of garment designs. Have them sketch their ideas as croquis sketches in their
sketchbooks. As an alternative, they can use pop culturea movie, a new music video, or a
television showas a source of inspiration for a series of designs.
6. Ask students to develop a trend collage. Have them identify a recent trend that is moving toward
increasing visibility on the fashion cycle curve, cut pictures from magazines or print out pictures
found on the Internet that illustrate this trend, and create a pleasing collage. Ask them to label the
trend using catchy language that helps the consumer understand its significance. On the back of their
collage, have them trace an idea chain that explains the origins and/or timeliness of the trend and
identifies the target market.
7. Encourage students to better understand color forecasts by looking at color projections for an
upcoming season. These can be found on the Internet and in trend magazines, or your school might
38
subscribe to a color service. Compare and contrast several color forecasts for the same season. What
similarities exist across all forecasts? How do they differ? Can the students explain the differences?
8. Ask students to find a couture or designer ready-to-wear (RTW) runway look on the Internet or in a
fashion magazine. They should describe it in terms of its inspiration and how the design elements
and principles are used. What aspects of this runway fashion might translate to mass market apparel?
Ask students to draw a series of 1020 sketches for mass market apparel inspired by the runway
design they analyzed.
RESOURCES
Raymond, Martin. 2010. The Trend Forecasters Handbook. London: Laurence King Publishing Ltd.
Cerimedo, Carolina. 2010. 1000 by 100 Fashion Designers. Beverly, MA: Rockport Publishers.
Steed, Josephine and Frances Stevenson. 2012. Basics Textile Design; Sourcing Ideas. Lausanne,
Switzerland: AVA Publishing SA.
Kim, Eundeok, Ann Marie Fiore, and Hyejeong Kim. 2011. Fashion Trends: Analysis and Forecasting.
New York: Berg.
Brannon, Evelyn L. 2010. Fashion Forecasting. New York: Fairchild Books.
Brannon, Evelyn L. 2011. Designers Guide to Fashion Apparel. New York: Fairchild Books.
Mattus, Matt. 2008. Beyond Trend: How to Innovate in an Over-Designed World. Cincinnati, Ohio:
HOW Books.
Roussou, Chelsea. 2012. Fashion Forward: A Guide to Fashion Forecasting. New York: Fairchild
Books.
Seivewright, Simon. 2007. Research and Design. Lausanne, Switzerland: AVA Publishing, SA.
39

Chapter 5 discusses color management as a distinct function from the development of seasonal color
stories, which may be the responsibility of the trend forecasting or design department of a product
developer. Color management is generally the responsibility of the technical design team. Some
companies have color specialists who manage the color-matching process; others expect their technical
design specialists to oversee color matching. A thorough understanding of color and how it affects the
design process is imperative for all who work in product development.

1. Have students locate a color forecast in a periodical, from a textile consortium, or from a service to
which you subscribe. Assign each student a color grouping, and ask him or her to mix those colors
on the computer in order to develop a seasonal color palette from which the student can work.
Depending on how much time you want to allocate to this assignment, you may also require students
to assign printer codes so that the printer color matches the monitor color the students have mixed.
2. Ask students to browse at a discount store or chain store that offers a wide array of private label or
store brand apparel for men, women, and children. They should analyze the color assortments used
in the mens, womens, and childrens areas for similarities in palette.
3. Ask students to bring two to three garments to class and match the colors of the garments to a
Pantone or SCOTDIC color standard.
4. Assign each student a patterned fabric that has four to six colors. Ask students to match each color in
the fabric to a Pantone chip, which can be used as the color standard for a group that utilizes that
fabric. Students should mount their fabric and the color standards they have chosen.
5. For a classroom display, collect examples of clothing for that exhibit color-matching problems.
Examples might include:
40
A garment where the color matches under one light source, but not another
Two pieces that are meant to coordinate but because of different fabrications, the color match is
off
A two-piece garment where each piece comes from a different shade group
4. If available, ask students to take the Ishihara Color Blindness Test, the HVC Color Aptitude Test,
and the Farnsworth-Munsell D15 or 100 Hue Test to measure their color acuity. An online version of
the Ishihara Color Blindness Test can be found at
www.geocities.com/Heartland/8833/coloreye.html. An online version of the Farnsworth-Munsell
D15 Hue Test can be found at www.univie.ac.at/Vergl-Physiologie/colortest/colortestF-en.html.
In addition, The New Munsell Student Color Set, third edition, includes color chips that can be
used to test students color sensitivity.
5. Scan a print into the computer. Ask students to clean the print, reducing the colors used to those that
are most essentialtypically 212. Ask students to re-color the print using only colors from the
seasonal color palette assigned in Activity 1.
6. Ask students to scan a multicolor print into the computer. Using the softwares color-swapping
function, have them explore various color combinations by swapping color positions.
7. If your curriculum incorporates instruction on computerized software in this course, this is an
appropriate time to teach palette builder and palette editor functionality.
41
Chapter 6 discusses the fabrication process. In an environment where silhouettes vary only slightly from
season to season, fabric is often the element that adds newness and inspires the consumer to buy.
Aspiring product developers must become very specific in the language they use to describe their fabric
choices. They should follow new developments in textile technology. They should also hone their skills
in creating motifs and yarn-dyed patterns on the computer.

1. Ask students to keep a notebook summarizing textile developments that may affect product
development. Good resources include Apparel Magazine, Just-Style, Womens Wear Daily, Textile
View, View 2, and Collezione Trend.
2. Ask students to research a new textile development and to present a five-minute report to the class
about how this development might be applied to apparel product development. Have them identify
the garment categories and price points where this textile development will be most relevant.
3. Organize a field trip to an art museum or ask students to select a piece of art from a book in the
library or an image they find online. Ask them to develop a pattern or motif inspired by the piece of
art but sufficiently manipulated to prevent violating copyright laws. This assignment may be
rendered by hand or developed on the computer. If it is developed digitally, have students put the
pattern into repeat.
4. Ask students to develop a collection that utilizes the print they designed for Activity 3. Be sure they
identify the market to which they intend to target the pattern, the fiber and fabric characteristics of
the fabric it will be applied to, and the other fabrics that will be used within the group.
5. Ask each student to select a current designer to research. Using fashion periodicals and the Internet,
they should study that designers last runway presentation and present a report on the fabrics the
42
designer used for the season. After all the reports have been given, have the class identify fabric
themes for the upcoming season.
6. Ask students to develop a fabric story for a group that will be merchandised together for a particular
customer, at a store and price point they define. The fabric story should include several base fabrics
and one or more novelty fabrics. Students should mount their fabric story on a board, along with a
visual image that captures the essence of their customer and the theme of the group for which the
fabric will be used.
7. Bring to class unique fabric samples that are available in sufficient yardage that students can drape
the fabric on a form. Assign a fabric to each student, and ask him or her to experiment with the
fabric on a dress form without cutting into the fabric. Once they explore how the fabric drapes, how
it responds on different grains, and how the pattern relates to the body, ask them to do a series of 10
20 sketches inspired by that fabric.
8. As a class, select a fashion theme identified as a trend while studying Chapter 4. Ask each student to
research that theme and develop a print that represents the theme. This assignment can be expanded
by asking students to develop a collection that uses the print they design.
9. If your school has computerized software for fabric design, this is an appropriate time to teach the
repeat, woven, or knit functionality. For whatever functions are taught, students should be expected
to develop a fabric that becomes part of a fabric story for a related collection.
10. Ask students to develop a swatch collection. Each time they go fabric shopping, they should swatch
interesting fabrics and mount each swatch on an index card where the price per yard, fiber content,
and width can be recorded. This resource can be used for future assignments.
Use class time to demonstrate how fabric swatches can be modified. Yarns can be pulled out of
loosely woven fabrics and alternate colors can be woven in their place. Magic markers can
sometimes be used successfully to change the color of a fabric. When an appropriate swatch is not
43
available, students might be able to develop a facsimile on the computer or scan a picture of the
fabric from a magazine. Encourage them to modify fabric specifications in order to fit their needs. If
they find a swatch of wool that does not contain Lycra, instruct them to label it as if it does. In this
way they can show their awareness of new fabric directions even though actual samples may not be
available. Make sure to remind them to mount swatches in the lengthwise direction. All swatches on
the same board should be uniform in size and cut with a straight edge or pinking shears. Note:
Students must understand that accurate textile labeling is required by law. The suggestion above is a
means of articulating the fabric a student wants for a particular design which may not be available
as a swatch. Designers also do this at the concept development stage so that their team can have the
appropriate fabric developed.
RESOURCES
Fletcher, Kate and Lynda Grose. 2012. Fashion & Sustainability: Design for Change. London: Laurence
King Publishing Ltd.
Fletcher, Kate. 2008. Sustainable Fashion & Textiles: Design Journies. London: Earthscan.
Russell, Alex. 2011. The Fundamentals of Printed Textile Design. Lausanne, Switzerland: AVA
Publishing, SA.
Sissons, Juliana. 2010. Basics Fashion Design: Knitwear. Lausanne, Switzerland: AVA Publishing, SA.
Udale Jenny. 2008. Basics Fashion Design: Textiles and Fashion. Lausanne, Switzerland: AVA
Publishing, SA.
Steed, Josephine and Frances Stevenson. 2012. Basics Textile Design: Sourcing Ideas. Lausanne,
Switzerland: AVA Publishing, SA.
44

Chapter 7 focuses on findings and trim. This chapter is intended to make students aware of the many
components that go into the construction of each garment and how ordering and tracking these
components affects production and delivery. This information must be included on the materials
specifications page of the spec package. One is included in the spec package blanks that begin on page
65.

1. Select several categories of trims, such as buttons, zippers, and snaps. Depending on the size of the
class and the time available, ask students to conduct research or review in class the characteristics of
each trim category regarding the decisions that must be made in order to specify that component. For
buttons, the composition of the button, the size in ligne, whether the button is shank or sew-through,
and the number of holes or other markings would need to be determined. Ask students to locate
several websites for sourcing each component.
2. Assign students a trim category such as zippers or buttons. Ask them to design a line of five
garments that utilize that trim as a design theme. Collect photos from fashion periodicals to illustrate
the variety of ways in which that trim can be used for decorative effect. For example, zipper tape can
be used as piping, to form the welt for bound pockets and buttonholes, made into fabric by lapping
strips of zipper tape, and used to detach garment parts or for pockets. This can be assigned as a
sketchbook portion of a design assignment that results in a completed design journal or board.
3. Bring a selection of garments to class. Divide students into groups and ask each group to analyze one
garment, listing all findings and trim used to make that garment.
45
4. Ask students to buy a yard each of several types of interfacings and experiment fusing samples of
each interfacing to different types of fabrics. Have them discuss which interfacings pair best with
which fabrics.
5. Have students deconstruct a jacket. Ask them to remove the lining to analyze where interfacing has
been used in the jacket and identify whether different types of interfacing have been used in its
different areas.
6. Ask students to bring in a pair of jeans. Require that they complete a materials specification page
and include all of the findings and trims used. Include threads, interfacing, pocketing, zipper, labels,
rivets, button or snap, etc.
46

Chapter 8 focuses on design development. The chapter reviews the design elements and principles that
are used as tools in designing silhouettes. A process for design development is outlined. Garments are
discussed by category, identifying how silhouettes in each category can be varied. Design details are
discussed as an additional way to vary garments. An illustrated appendix at the end of the chapter
provides examples of a variety of garments by category as well as garment details.

1. Show pictures of current fashions found in catalogues or in fashion periodicals. (This can be
done via a PowerPoint presentation or by using a document camera.) Ask students to describe or
identify the following:
The color, describing its hue, value, chroma, and temperature
The color harmony used in the ensemble
The texture or pattern
The use of line
The shape or silhouette
The balance
The proportion
The focal point or emphasis
The rhythm
How unity is achieved
Note: This activity will help students to become proficient at using design language to analyze a
garment rather than relying on language based on personal preferences.
47
2.
Ask students to view a photo of a garment for 30 seconds and then record as much detail about
the garment as they can remember. Have them write down 10 descriptive words about the color,
fabric, and silhouette of the design and make thumbnail sketches of unique details. Ask them to
develop 10 design ideas inspired from their memory of the original image, and share their ideas
with the class.
3. Give students a silhouette for a simple garment such as a bathing suit, exercise leotard,
motorcycle poncho, or sweatshirt. Ask them to create 20 sketches of this garment, with seams,
color blocking, and details to vary each design.
4. Ask students to select a photograph of a garment they like. Have them develop a croquis sketch,
eliminating all details and concentrating only on obtaining a well-proportioned silhouette. Ask
them to trace over this croquis and fill in the details to create 1020 variations.
5. Ask students to select an image of a high-fashion garment from designer RTW or couture
runways. Ask them to make a list of 10 unique design elements or details used in the garment
they chose. Then ask them to develop a series of 1020 garments inspired by the photograph that
would be marketable at mass market price points.
6. Ask students to develop pages in their sketchbooks that challenge them to study garment details.
They should include historic references, items they find while shopping, and current fashion
periodicals as resources for their research. Choose from the following examples or develop your
own categories related to seasonal fashion trends:
Interesting dart manipulations
Collars
Pockets
Closures
Tailored collar variations
48
Denim jeans details
Skirt or pant variations
RESOURCES
Faerm, Steven. 2010. Fashion Design Course. New York: Barrons.
San Martin, Marcarena. 2009. Field Guide: How To Be A Fashion Designer. Berverly, MA: Rockport.
Sorger, Richard and Jenny Udale. 2006. The Fundamentals of Fashion Design. Lausanne, Switzerland:
AVA Publishing, SA.
Tatham, Caroline and Julian Seaman. 2003. Fashion Design Drawing Course. New York: Barrons.
49

Chapter 9 explains how lines are developed to meet the needs of both retailers and the final consumer.
Intellectual property law is discussed in the context of apparel silhouette protection in both the United
States and abroad. The difference between item lines and group lines is explained. Students will be
introduced to the parameters of line development and how to balance a line in terms of the assortment
and volume that is suitable for the brands distribution. The line editing process, based on both
assortment and volume needs, as well as timing and production constraints, is also explored. A
discussion of how design concepts are communicated completes the chapter.

1. Ask students to gather layouts from catalogues that illustrate the differences between an item line
and a group or coordinates line. Have them identify how both types of lines use color and fabric to
help merchandise the line. Ask them to discuss the degree of coordination required for each type of
line and how each type of line is typically purchased (in single or multiple units).
2. Ask students to identify categories of garments that are typically designed as item lines and
categories of garments that are typically designed as group lines. Does target market and price point
affect whether garments are designed in groups or as separates?
3. Ask students to visit a designer showroom and ask the sales rep to demonstrate how to sell a line to
different retail customers. This experience will help students to understand all that needs to be in a
line to appeal to different retail customers. If a showroom is not available, identify a brand website
that features an entire product line and use it as the basis for this discussion.
4. Obtain a line sheet to demonstrate how a line is organized.
5. Visit a local store that does its own buying. Ask the buyer to walk students through the store and
explain the mix of vendors and the appeal, price point, and design focus of each line.
50
6. Ask students to design a group of five to six pieces that would fulfill their wardrobe needs for a
fantasy weekend. Ask them to:
Determine the destination and activities.
Determine wardrobe needs with the understanding that they may take only five to six pieces of
outerwear. (Do not include undergarments, sleepwear, shoes, or accessories.)
Design the five to six garments so that they coordinate with one another and serve multiple
purposes.
Present the collection on a board that includes a mood picture of the destination, color and fabric
swatches with specifications, flats, and an optional illustration.
7. Ask students to select an existing brand and analyze garments within that brand with regard to the
elements that give it a brand identity with consumers. Ask them to design a 5-, 10-, or 15-piece line
for an upcoming season as if they were the designer for the brand. Have them include a customer
description, wholesale prices, color story, fabric story, flats, and an illustration in their presentations.
This is an excellent exercise for students to complete before an interview for an internship or job.
8. Ask a local product developer to work cooperatively on a class a project that parallels the product
developers approach to an upcoming season. The designer should commit to three visits: the first to
present the project, the second to check progress and answer questions, and the third to critique the
final projects.
RESOURCE
Kunz, Grace I. 2010. Merchandising theory, Principles, and Practices. NewYork: Fairchild
Publications.
Renfrew, Elinor and Colin. 2009. Developing a Collection. Lausanne, Switzerland: AVA Publishing,
SA.
51
Chapter 10 begins to focus on the technical development of products. In this chapter, students are
introduced to the options that product developers use to develop patterns, the function of standards and
specifications, and how information is communicated through a specification package. A bank of
worksheets follows the notes for Chapter 15 and can be duplicated and used for class assignments for
Chapter 10.

1. Duplicate a series of completed worksheets from a product development management program to
illustrate the range of processes that must be managed throughout the product development process.
These may be discussed in class and projected in a PowerPoint presentation or through use of a
document camera. You may choose to duplicate a set of forms for each student to use as a reference.
Explain to students that not all of these forms can be used in the classroom since much of the data
can be found only in a business environment.
2. Ask students to design a group of three pairs of jeans in a single fabric. For each pair of jeans, they
should draw a flat and an enlarged drawing of detail areas such as front or back pockets and fly
front. They should complete a small spec package that includes a style summary sheet, an assembly
diagram, a design specification sheet, a pattern sheet or piece reference sheet, a measurement
specification sheet filled in for the sample size, and a preliminary cost sheet. This assignment is
designed to require students to do research on denim trends and finishes. It also forces them to think
about all the components required to construct a pair of jeans. It gives them the opportunity to design
a stitched logo for the back pocket and to analyze construction techniques. They should measure an
actual pair of jeans in a sample size to determine measurements for the sample size. Have students
52
identify a target customer and price point for their group. Blank spec sheets are provided beginning
on page 65 of this Instructors Guide.
3. Develop a cooperative product with a local product developer. Work with a designer and ask the
students in the class to role-play as that designers technical team. Ask the designer to bring in
sketches for the class to develop. Some product developers may allow students to use company
blocks to develop the patterns and may provide fabric for development of the first sample. Students
assume responsibility for developing a spec package, patterns, and a sample garment.
4. Ask a local patternmaker or technical designer to speak to the class about the patternmaking process.
Myers-McDevitt, Paula J. 2012. Apparel Production Management & the Technical Package. New York:
Fairchild Publications.
Lee, Jaeil and Camille Steen. 2009. Technical Sourcebook for Designers. New York: Fairchild
Publications
53

Chapter 11 discusses sizing and fit as they affect the product development process. Students will begin
to understand why garments of the same size fit differently in different brands. They will also learn the
steps involved in developing a consistent fit within a branded line of garments.

1. Go to a store and purchase four to five pairs of junior jeans in one size, but of different brands. Ask a
student who wears that size to try on each pair of jeans. Have the class discuss the fit differences
they observe.
2. Give each group of students one pair of the jeans purchased above. As a class, identify the key
measurement points necessary to obtain the desired fit. Ask each group of students to complete a
measurement specification sheet for their pair of jeans.
3. In many companies, patternmaking is the responsibility of the offshore contractor. When sample
garments are received by a product developer, that garment must be fit on a fit model. Changes are
identified and the garment is then returned to the contractor with annotated notes about the needed
changes. Demonstrate how a fit session works by asking a student to try on an actual garment or a
muslin for the class. Ask another student to play the part of the fit specialist. As the fit specialist
identifies fit changes that need to be made on the garment, ask the class to take notes about the fit.
These notes should then be transcribed into a memo that could be sent to the patternmaker
explaining the changes that need to be made.
4. Purchase similar garments at a discount, moderate, better, and bridge price point, all in the same
size. Ask a student to try on the garments and analyze how sizing varies at different price points.
Discuss the impact of vanity sizing when it comes to motivating consumers to purchase more
expensive garments.
54
5. Ask students to research the Size USA study and how the data are being used. Ask them to share
their opinions about the current sizing system.
6. Introduce the concept of optimized sizing systems based on non-proportional grades. As consumers,
would the students welcome such a system? What would be the challenges of implementing such a
system when patternmaking and grading is sourced offshore?
7. Ask students to share how they feel about sizing nomenclature. Does the number on the ticket
influence their purchasing behavior?
RESOURCE
Ashdown, Susan, Editor. 2007. Sizing in Clothing: Developing Effective Sizing Systems for Ready-toWear Clothing. Cambridge, England: Woodhead Publishing LTD.
55

Chapter 12 discusses the importance of quality assurance throughout the product development process.
Quality expectations vary for different groups of customers based on lifestyle, age, and budget which
impact preferred care methods, garment longevity, and fashion expectations. It is important for product
developers to identify the level of quality their customers expect and to maintain that quality throughout
the product line.

1. Purchase similarly styled garments at discount, moderate, better, and bridge price points. It helps if
the garments you choose are of a similar color and fabrication. Cover the label and price ticket of
each garment and display them in front of the class, giving each garment a number. Ask students to
evaluate the garments and rank them from the garment they believe is most expensive to the one
they believe is the least expensive. Ask students to share their rankings and give their reasoning.
Uncover the labels and price tickets. Continue to discuss the merits of each garment and try to justify
what makes some garments more expensive than others.
2. Assign each group of students a garment. Ask them to identify all of the stitches used in the
construction of that garment. (Note: Jeans work well for this activity.)
3. Ask students to select a photo of a runway design for inspiration. Using the design they chose as
inspiration, have them design a series of garments for a discount or junior customer and another
series of garments for a better or bridge customer. Their designs should reflect quality differences in
color, fabric, silhouette, and construction. For example, the color palette for a discount or moderate
customer may be more saturated than the color palette for a bridge customer. Fabrics get more
expensive as the price point increases because garments may require more yardage. Silhouettes are
more sophisticated at bridge; there is more focus on function in discount, moderate, and better.
56
Construction requirements may be more complex as the price point increases. This assignment may
be used as a sketchbook assignment or developed as a finished project.
4. Bring a more expensive garment to class. Ask the students to redesign it for another price point.
5. Assign the class a garment and determine the fabric and garment tests that should be required to
achieve quality standards.
6. Identify a real or hypothetical product developer that creates product at good, better, and best quality
levels. Have the class identify the minimum quality attributes for each quality level when it comes
to:
Matching (study whether pieces match at front, back, side seams, sleeves, pockets)
Seams (stitches per inch for joining seams and top stitching; how many stitches used for back
stitching)
Buttons (are extra buttons included?)
RESOURCES:
Das, Subrata. 2010. Quality Characteristics of Apparel. Boca Raton FL: CRC Press.
Kincade, Doris H. 2007. Sewn Product Quality: A Management Perspective. Saddlebrook, NJ: Prentice
Hall.
Kunz, Grace I and Ruth E. Glock. 2004. Apparel Manufacturing: Sewn Product Analysis. Saddlebrook
NJ: Prentice Hall.
Mehta, Pradip. 2004. Intro to Quality Assurance For the Retailers. Lincoln NE: iUniverse, Inc.
57

Chapter 13 discusses sourcing as it affects the product development process. If your curriculum already
requires a course on international trade, this chapter may simply be an introduction. It is meant to give
students insights into how sourcing decisions affect editing decisions and the line development calendar.

1. A registered identification number or RN is a number issued by the Federal Trade Commission,
upon request, to a business headquartered in the United States that is engaged in the manufacture,
importing, distribution, or sale of textile, wool, or fur products. Businesses are not required to have
RNs, but they may use the RN in place of a name on the label or tag that is required on those
products. Ask students to go through their closets and identify the brand and the RN number on ten
garments. Ask them to go to www.ftc.gov/bcp/rn/ and select RN Database Search. There, if they
type in the RN number of the garment, they will be able to identify who actually manufactures,
imports, or distributes that garment. They may be surprised by what they find.
2. Ask students to research a variety of countries regarding their sourcing strengths and weaknesses.
Based on that research, have the class brainstorm about what products might be successfully sourced
in each country. Possible countries include:
Bangladesh
Cambodia
China
Columbia
Guatemala
Honduras
Kenya and Lesotho in South Africa
58
Mexico
Myanmar (Burma)
Peru
Thailand
Vietnam
3. Have students research where they might best source the following categories of garments. Have
them shop stores and identify where similar products are made. After they have identified countries
where these products are typically sourced, have them research each countrys infrastructure and
resources to determine why these products are successfully sourced there.
Sweaters (fine gauge and bulky)
Blue jeans
Embroidered or beaded garments
4. Ask students to complete a graphic organizer to compare stakeholder perspectives regarding the
topic of sweatshops. Stakeholders can be chosen from the following: US or European product
developers; US or European consumers; developed world governments; unions; apparel industry
workers in developing countries; developing country governments; World Trade Organization; nongovernmental agencies (NGOs) such as Fair Labor Association (FLA), Ethical Trading Initiative
(ETI), Institute for Global Labour and Human Rights, Educators for a Socially Responsible Apparel
Business (ESRAB), Worldwide Responsible Accredited Production (WRAP); and independent trade
monitors such as Verite.
59
STAKEHOLDER
CHALLENGES/
CONCERNS
RISKS
DESIERED
OUTCOMES
US Product
Developers
Apparel industry
workers in
developing countries
US consumers
RESOURCES
Coates, Rosemary. 2012. 42 Rules for Sourcing and Manufacturing in China. Silicon Valley, CA: Super
Star Press.
Kunz, Grace I. and Myrna B. Garner. 2011. Going Global: The Textile and Apparel Industry. New
York: Fairchild.
60

Chapter 14 explains the costs that must be factored into the wholesale price of apparel products. With
this understanding, students will be able to anticipate what the garments they design might cost to ensure
that the price is within the range of what their target customer is willing to pay.

1. Identify three branded junior dresses at different price points online or in catalogs. Assuming that
each dress has been marked up 100 percent from its wholesale price, walk students through the
costing process in reverse. Try to figure out how much the landed price (garment manufacture plus
transportation to US and all customs charges) of each dress might be, based on the quality of the
fabric and the country of origin. The product developer may have figured its wholesale price based
on a 4560 percent gross margin. If a company maintains a high-profile brand image via advertising
and permanent showrooms, it will need to take a higher gross margin. If the product developer does
not advertise and has no permanent showrooms, it may get by with a lower gross margin. Based on
your analysis, can you justify the retail price charged for these garments?
2. Ask students to design a line of three junior dresses. Complete a preliminary cost sheet for each,
trying to reach a competitive wholesale cost for the target market specified.
3. Invite a costing engineer to speak to the class about the costing processfrom pre-costing, to
production costing, to determining the wholesale price.
4. Choose a runway garment found on the Internet or in a fashion periodical. Assign students to create
a series of five croquis sketches for designs inspired by that garment for each of three different price
points.
RESOURCES
Harder, Frances. 2005. Costing for Profit. Rolling Hills Estates, CA: Harder Publications.
61
Jeffrey, Michael. 2011. Costing for the Fashion Industry. London: Berg Publishers
62

Chapter 15 focuses on the impact of decisions regarding distribution channels and how these decisions
affect production planning. The chapter begins by explaining the basics of logistics---getting the goods
to the retail venue where they will be sold. It discusses both bricks and mortar and direct marketing
retail venues. Finally the chapter discusses current retail trends and strategies including the impact of
sales and the use of social media as a marketing tool.

1. Ask students to assess three different brand or retail websites and each companys related use of
social media for marketing. Discuss what characteristics make them return to a website repeatedly
and what characteristics turn them off. Do the same for social media strategies.
2. Ask students to track the time they spend shopping on the web versus shopping in stores; the time
they spend following social media from their favorite retailers; and where they actually spend money
on apparel (either in-store or online). Their results will be more informative if they are able to track
their habits for a longer period of time---one week minimum to 2-4 weeks maximum. Ask them to
engage their family in the same exercise in order to discern how different age groups/markets shop.
Working in groups, ask students to develop a low-cost marketing strategy for a local boutique (not a
chain store).
3. Ask a buyer to speak to the class regarding the relationship he or she has with the product
development team and how he or she buys private label merchandise.
63
Introduction to the Spec Pack
The eight forms that follow are blank versions of the Spec Pack examples shown within the text. They
may be used as worksheets by students and/or instructors to develop a spec pack for one of their own
designs. Use of these forms will reinforce the retention of information presented within the text. The
worksheet forms are:
1)
Style Summary Sheet (Parallels Figure 10.9 in the text)
2)
Preliminary Cost Sheet (See Figure 10.10)
3)
Materials Specifications (See Figure 10.11)
4)
Pattern Block Identification/Pattern Chart (See Figure 10.12)
5)
Grade Rule Specifications (See Figure 11.12)
6)
Grade Rule Measurements (See Figure 11.13)
7)
Textile Testing Methods (This form follows the quality testing methods discussed in Case Study
12.1 Quality Assurance Standards: Basic Testing Requirements for Fabrics, Findings, and Trims)
8)
Assembly Specifications (See Figure 12.12b and Appendices to Chapter 12 for assistance in
determining identity of commercial stitches and seams needed to finish the garment under
development in the order of completion)
64
65
66
67
68
69
70
71
72
Test Bank
True or False
T F 1. Changing technology and global partnerships are influencing the role of product developers.
T F 2. The apparel supply chain includes many auxiliary businesses, including software providers.
T F 3. Todays product development supply chain is linear.
T F 4. Identification of appropriate sourcing partners requires ongoing analysis and assessment.
T F 5. The collaborative supply chain fosters permanent partnerships.
T F 6. The apparel supply chain is classified as a mature industry.
T F 7. The ability of a mature industry to make a profit is measured strictly by volume.
T F 8. Globalization of the apparel industry has decreased in recent years due to the activities of the
WTO.
T F 9. Signature stores give manufacturers direct retail access to their consumers at full price.
T F 10. Li & Fung is considered a global supply chain manager and offers a full range of product
development services.
T F 11. Product lifecycle management (PLM) computer systems go beyond product data management
(PDM) systems used for development of spec packages.
Multiple Choice
Select the best response.
1. The apparel supply chain goes beyond the product itself to:
a. Sourcing agents
b. Factors
c. Testing laboratories
d. All of the above
2. Agile manufacturing requires:
a. Identifying and focusing on core competencies
b. Partnering with other specialists
c. Doing all steps of the development process
d. Both a and b
3. A fully vertically integrated company seeks to consolidate and/or grow its business by:
a. Acquiring a company at a different stage in the supply chain
b. Acquiring control of all of the steps in the production of its products
c. Acquiring another firm/competitor at the same stage of the supply chain
d. Gaining a monopoly in one stage of the supply chain
73
4. Horizontal integration helps a business grow by:

a. Acquiring a company at a different stage in the supply chain
b. Acquiring control of all of the steps in the production of its products
c. Acquiring another firm/competitor at the same stage of the supply chain
d. Gaining a monopoly in one stage of the supply chain
5. The role of agents in the supply chain is to:
a. Link product developers with suppliers and producers
b. Provide financial assistance to suppliers and manufacturers
c. Test fabrics and findings to ensure quality standards
d. All of the above
6. The role of product developers is:
a. To design the apparel styles
b. To write specifications for construction of the apparel styles
c. To put style selections together to form a product line
d. All of the above
7. Wholesale brands are:
a. Created under a proprietary label and sold at wholesale to retailers
b. Designed by a manufacturer exclusively for one retailer
c. Developed and merchandised with labels owned by a retailer
d. Made and sold to consumers only by the manufacturer
8. Private brand products are:
a. Created under a proprietary label and sold at wholesale to retailers
b. Designed by a manufacturer exclusively for one retailer
c. Developed and merchandised for exclusive distribution by a retailer
d. Made and sold to consumers only by the manufacturer
9. Product lifecycle management (PLM) software applications include:
a. Product design
b. Product data capabilities for specification development
c. Supply chain management capabilities
d. All of the above
74

True or False
T F 1. The top-level activity that focuses on business strategy is the strategic plan.
T F 2. Creative planning includes developing fit standards.
T F 3. Technical planning includes the development of specification packages.
T F 4. Selection of assembly methods and detailed costing are completed in the line
adoption phase of product development.
T F 5. The government classifies products by their NAICS number.
T F 6. Product category typically defines the use for which a product is being
made.
T F 7. Couture is considered the highest price category in the apparel business.
T F 8. The mass market makes up less than half of the apparel merchandise sold in the United States.
T F 9. The trend is to produce more seasonal collections per year.
T F 10. A brand is a distinctive name or label that identifies the product or vendor.
T F 11. Once the product has been designed, a product developer is no longer involved and
others take over the process.
T F 12. Sustainability of the supply chain involves social, economic, and environmental
spheres of activity.
Multiple Choice
1. The basic business function that includes the planning and development of the product line is:
a. Marketing
b. Merchandising
c. Production
d. Finance
e. Operations
2. Product developers are involved in:
a. Creative planning
b. Merchandise planning
c. Production planning
d. All of the above
3. The role of international sourcing of apparel products has _______________in the past decade:
a. Increased
75
b. Decreased
4. The fall/winter collections are considered critical because:
a. They contain the biggest number of garments
b. They are made with simpler construction
c. They are the most costly and difficult to produce
d. None of the above
5. The traditional timetable for completion of the product development cycle is:
a. 10 to 12 months
b. 6 to 9 months
c. 4 to 6 months
d. Less than 3 months
6.
The timetable for completion of the product development cycle for fast fashion is typically:
a. 1 year
b. 6 to 9 months
c. 4 to 6 months
d. Less than 3 months
7. The most critical point in the product development calendar is:

a. Delivery of the product to the customer
b. Ordering the fabrics in time for production
c. The selling season in retail
d. The creative design timeline
8. The newest overall category of apparel merchandise in todays market is:
a. Childrens
b. Active sportswear
c. Lingerie
d. Mens sportswear
9. The growth category in womens wear today is (are):
a. Larger sizes
b. Petites
c. Lingerie
d. All of above
10. The category of menswear that has seen the most decline in sales in recent years is:
a. Suits
b. Casual Friday sportswear
c. Furnishings
11. The production of unisex apparel has _____________ in recent years.
a. Decreased
b. Increased
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12. The strategic business plan includes decision(s) regarding:

a. Category of product to produce
b. Price point of product line
c. The standards for the products to be produced
d. All of the above
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True or False
T F 1. Demographics explore the social and psychological factors that make up a
consumers lifestyle.
T F 2. While women tend to buy more clothes than men, men may spend more on individual
items.
T F 3. A target market is a well-defined consumer group to which a business wishes to
sell.
T F 4. A large target market with broad consumer characteristics is a niche market.
T F 5. The 80/20 principle in marketing refers to fact that 20 percent of customers
account for 80 percent of sales.
T F 6. In order to prevent seasonal markdowns on merchandise, retailers present the bulk of
their offerings prior to the season they are to be worn.
T F 7. The fastest growing ethnic group in the United States today is Hispanic-Americans.
T F 8. Regional preferences for apparel are similar throughout the United States.
T F 9. Millennials or Generation Y consumers are more apt to spend money on the latest technology
rather than on clothing.
T F 10. In todays market, the practice of high-low price mixing of apparel products makes
social class less obvious than it used to be.
Multiple Choice
1. While the fashion business has preferred to market to young adult consumers, which group is forcing
product developers to re-evaluate their focus?
a. Teenagers
b. Young marrieds
c. Married with children
d. People over age 50
2. Defining customers via lifestyle segments puts the focus on:
a. Demographic data
b. Ethnic background of the target market
c. Profile combining demographic, psychographic, and generational data
d. Employment and income level data of the target customer
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3. Interpretation of political, economic, social, demographic, and psychographic forces that affect
consumer motivation to buy is called:
a. Environmental scanning
b. Quantitative research
c. Point-of-sale (POS) data analysis
d. All of the above
4. The generational cohort that can be described as having robust spending habits and independent
lifestyles, often defying categorizing, is:
a. Generation Y
b. Generation X
c. Baby Boomers
d. Matures
5. The generational cohort that has wreaked havoc on markets at every stage due to not following
previous patterns is:
a. Generation Y
b. Generation X
c. Baby Boomers
d. Matures
6. A type of local research that depends on records of recent purchases is:
a. Environmental scanning
b. Point-of-sale (POS) data
c. Data mining
d. Focus groups
7. The computerized research method called data mining uses larger databases and is expected to
contribute heavily to information for:
a. Analyzing performance of individual products
b. Automatic replenishment programs
c. Allocation of merchandise to individual stores based on sell-through figures
d. All of the above
8. Recent analysis has identified the following underserved niche market(s):
a. Women in the 50-plus age group
b. Plus-size women
c. Petite-size women
d. All of the above
9. The largest group of consumers in the United States is:
a. Teenagers
b. Men
c. Women
d. Men and women
10. The way the slow recovery from the recent recession has impacted purchasing behavior is that :
a. Mindless excess is over
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b.
c.
d.
e.
Consumers are buying what they need and wanting less

Overt luxury and status have faded in favor of good value
Department store shopping has seen a resurgence
All of the above
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True or False
T F 1. Scanning consumer fashion magazines is a primary source of fashion trends for
coming seasons.
T F 2. Fashion is at its height of popularity at the saturation stage and designers have moved on
to the next trend.
T F 3. Color fashion trend changes are usually sudden rather than evolutionary.
T F 4. The Color Association of the United States and the Color Marketing Group are
large marketing organizations that forecast color directions.
T F 5. Color forecasting begins a year before a selling season.
T F 6. Poms are bundles of yarn mounted on a visual of a color palette.
T F 7. The typical life cycle of a fashion color is three years.
T F 8. Short-term forecasting of trends is the realm of futurists and trend spotters who chart
potential changes for five or more years into the future.
T F 9. Compression of the fashion cycle is made possible by low-cost developers knocking off highprice styles in the same season.
T F 10. Fast fashion operates on the trickle-down theory of fashion dissemination.
Multiple Choice
1. Short-term forecasting focuses on:
a. Events and pop culture trends
b. Fashion predictions for the next 12 to 18 months
c. Cues for inspiration related to color, fabric, and silhouette looks
d. All of the above
2. Color research begins______ before it is in the consumer market.
a. 2 to 2 years
b. 1 to 1 years
c. Up to a year
3. Organizations that do specialized color forecasts include:
a. Textile manufacturing groups such as Cotton, Inc.
b. Forecasting companies such as D3 Doneger Design Directions
c. Associations such as the Color Marketing Group and CAUS
d. All of the above
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4. Due to budget restraints today, many print fabrics are designed by:
a. Purchasing from a suppliers seasonal line
b. Adapting or developing in-house by a staff design team
c. Purchasing from a print studio
d. Purchasing from a print agent
5. The element that changes the least from season to season is:
a. Silhouette
b. Trims
c. Fabrics
d. Color
6. Which of the following markets is most likely to take inspiration from street fashion?
a. Misses
b. Childrens
c. Juniors
d. Womens
7. Innovative fashion ideas that flood the market for a short time and are soon gone are:
a. Trends
b. Fads
c. Fashions
d. Classics
8. Environmental scanning influences on fashion include:
a. Current events and sports
b. The arts, including performing arts and popular culture
c. Science and technology
d. All of the above
9. Childrens wear companies typically present _____ seasonal fashion collections each year.
a. 2 to 4
b. 3 to 4
c. 4 to 6
d. 1 to 2
10. The seasonal trend forecast is developed by the:
a. Creative designers
b. Product managers
c. Merchandisers
d. Any of the above
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True or False
T F 1. The first step in color management is the selection of a seasonal color palette.
T F 2. Humans are capable of distinguishing about 10 million variations of color.
T F 3. Color is seen the same in natural and fluorescent light.
T F 4. Black, white, and gray are neutral or chromatic colors.
T F 5. A shade is a color mixed with black.
T F 6. Pastel pink and peach are tints of colors.
T F 7. Blue and violet are considered warm colors.
T F 8. Painters work with red, green, and blue as their primary colors.
T F 9. Customers are advised to select colors that correspond to their warm or cool
skin tone.
T F 10. All colors can be created in both the additive (computer) and subtractive (dye
pigment) systems.
T F 11. Color matching may be done by visual and instrumental measurement methods.
T F 12. The same dye color may appear different when applied to different fabrics.
Multiple Choice
1. Visible light waves that allow us to see color are measured in:
a. Meters
b. Millimeters
c. Nanometers
d. Centimeters
2. The attribute(s) of color is (are):
a. Hue
b. Value
c. Chroma or intensity
d. All of the above
3. The color system used for rendering via computer monitor is:
a. Additive, using red, green, and blue or blue-violet as the primaries
b. Subtractive, using cyan, magenta, and yellow as the primaries
c. Both a and b
d. Neither a nor b
4. The color system used in drawing inks and paints is:
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a.
b.
c.
d.
Additive, using red, green, and blue or blue-violet as the primaries

Subtractive, using cyan, magenta, and yellow as the primaries
Both a and b
None of the above
5. Limits on color assortments are suggested on the type of product line as follows:
a. Basics and separate item lines can be offered in a wide range of colors
b. Coordinated group lines tend to feature 3 to 5 colors
c. Both a and b
6. Mature consumers prefer:
a. Extremes of color that change with each season
b. More practical choices that enhance personal coloring
c. More mid-tone colors instead of neutrals
d. Neutrals such as black, gray, and navy
7. Young adult customers:
a. Prefer extremes of color that change with each season
b. Choose more practical choices that enhance personal coloring
c. Reject neutrals in favor of more mid-tone colors
d. Focus on neutrals such as black, gray, and navy
8. The commercial color identification system(s) commonly used in apparel product development for
color matching is (are):
a. Color Solutions International
b. Pantone
c. SCOTDIC
d. All of the above
9. Samples of prints, called ____________, are prepared and submitted to product developers before
final purchase.
a. Swatches
b. Lab dips
c. Strike offs
d. All of the above
10. The most accurate method of evaluating color match of fabrics is by:
a. Visual comparison to AATCC standards in a light box
b. Use of an instrument called a colorimeter
c. Use of a spectrophotometer
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True or False
T F 1. Fabrication is the process of selecting fabrics for garments in a seasonal line.
T F 2. There are generally minimum yardage requirements on custom-dyed fabrics.
T F 3. Fabric vendors welcome open-ended contracts for fabric orders.
T F 4. Top weight fabrics are usually heavier in weight than fabrics considered bottom
weight.
T F 5. Developers of fashion-forward products are more apt to be fully engaged in the
fabrication process than those of commodity lines.
T F 6. Eco-friendly fabrics use only natural fibers.
T F 7. A print is out of registration when white areas appear between colors or colors
overlap.
T F 8. Fabric color must be established very early in the production process.
T F 9. Print patterns should be scaled to the wearers body.
T F 10. Fabric may cost up to 70 percent of the wholesale cost of garments sourced offshore.
T F 11. Tailoring requires a soft, drapable fabric.
T F 12. The more expensive the fabric, the more complex the garment design may be.
T F 13. Product developers want to avoid fabrics similar to those used by lower-priced
competitors.
T F 14. Exclusivity agreements for textile designs are commonly subject to minimum
yardage requirements.
T F 15. Regenerated fibers such as modal and bamboo require chemical processing that may
invalidate their claims to sustainability.
Multiple Choice
1. When multiple production contractors are used to produce one style, product developers usually:
a. Take ownership of fabrics because it saves time
b. Take ownership of fabrics to ensure consistency of fabrication between contractors
c. Specify vendor and fabric requirements but require the contractor to provide the fabric
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2. Private label product developers tend to:

a. Take ownership of fabrics to maintain control and save time
b. Specify the vendor and detailed fabric requirements in all contracts with partners
c. Request fabric samples from agents or contractors that are within a range described in the
initial spec package
d. Any of the above
3. An example of a method of adding pattern to fabrics after construction is:
a. Jacquards
b. Lace
c. Prints
d. All of the above
4. A good recommendation for large print pattern usage is:
a. Placement of large motifs should be carefully planned
b. Large patterns look good on large women
c. Large patterns are appropriate for small women
d. Patterns should be randomly placed
5. A fabrics hand, or its tactile characteristics, is affected by:
a. Fiber content
b. Yarn type
c. Weave structure
d. All of the above
6. A product category that relies heavily on prints is:
a. Childrens
b. Dresses
c. Lingerie
d. All of the above
7. Once a product developer purchases a print fabric design, the copyright:
a. Is purchased with the print and the design can be modified
b. Is registered with the Department of Commerce
c. Is automatic to original design work when it is first in tangible form
d. Both a and c
8. Discharge printing means the:
a. Design is printed directly on white or previously dyed fabric
b. Design is achieved by removing color in areas to leave lighter design
c. Design is achieved by a two-step process where a dye prevention step precedes the actual color
application
9. Resist printing means the:
a. Design is printed directly on white or previously dyed fabric
b. Design is achieved by removing color in areas to leave lighter design
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c. A two-step process of a dye prevention step preceding the actual color application to
achieve the design
10. Screen printing applies dye:
a. Through a mesh that has some areas blocked off to create the pattern
b. With a metal cylinder that has been etched with the design
c. On a transfer paper that is then placed on the fabric through a process similar to ironing
11. Nanotechnology in textiles can be used to:
a. Incorporate small particles of other substances into fibers in order to change the properties of the
yarns
b. Incorporate clay into polymer fibers to produce flame retardant fibers
c. Incorporate carbon from coconut shells into polyester to provide wicking capability
d. All of the above
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True or False
T F 1. All materials used in garments, beyond the shell fabrics, are classified as findings and trims.
T F 2. Trims are decorative materials or surface treatments that embellish a garment.
T F 3. Decorative trims are an integral part of the garment structure and its use.
T F 4. One potential problem of fused interfacing is strike-through.
T F 5. The most common type of interfacing in use today is nonwoven fiberweb.
T F 6. Buttons on toddlers clothing should be small and in proportion to the size of the child.
T F 7. Shoulder pads and sleeve headers are shaping devices used in tailored garments.
T F 8. Buttonholes are subjected to more vertical stress during wear than horizontal stress.
T F 9. For neatness, buttons are sewn flat onto the surface of the garment.
T F 10. Manufacturers usually purchase closures by the gross.
T F 11. The keyhole buttonhole is used on coats to provide room for the shank of the button.
T F 12. Buttonholes are placed on the right side of most womens garments (when looking directly at
the garment).
T F 13. Plastic is a good material to use for durable snap closures on blouses.
T F 14. Premade belts used by manufacturers tend to be of lower quality than those sold separately.
T F 15. Thread that is color-matched to the fabric is considered a sign of quality.
Multiple Choice
1. The name for sundries or notions that is preferred by the apparel industry is:
a. Trims
b. Findings
c. Functional trim
d. Decorative trim
2. Surface design(s) applied directly to garments or garment components is:
a. Appliqu
b. Trapunto
c. Embroidery
d. All of the above
3. An extra layer of fabric used for support in structured garments is:
a. Interfacing
b. Interlining
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c. Lining
d. All of the above
4. Characteristic(s) of woven interfacing is (are):
a. They are strong and do not stretch
b. They must be cut on the grain
c. They tend to be more costly than other types of interfacing
d. All of the above
5. Wicking is the ability of fabrics to:
a. Burn easily
b. Build up static electricity
c. Transfer moisture away from the surface of the body
d. Change color with exposure to perspiration
6. In general, the weave structure that wears the best as a lining fabric is:
a. Plain weave
b. Twill weave
c. Satin weave
d. Nylon
7. Examples of closures used in garments include:
a. Zippers and buttons
b. Hooks and eyes
c. Elastic and drawstrings
d. Both a and b
8. Button size is measured in:
a. Inches
b. Centimeters
c. Lignes
d. Count
9. The length of a buttonhole is measured by:
a. The diameter of the button
b. The diameter of the button plus its depth
c. The width of the button
d. The width of the button plus 1/8 inch
10. The most common types of thread used in manufacturing today are:
a. Spun and corespun threads
b. Monofilaments threads
c. Both of the above
11. The government requires labels on garments for:
a. Fiber content and care instructions
b. Brand and size
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c. Size and color

d. Both a and b
12. A narrow, woven fabric trim with finished edges is:
a. Piping
b. Cording
c. Ribbon
d. Lace
13. A term used for a range of braids and cords used for trim on garments is:
a. Cording
b. Passementerie
c. Ribbon
d. Soutache
14. A flounce is:
a. A jabot
b. A gathered piece of fabric sewn onto a garment
c. A curved or shaped piece of fabric sewn onto a garment
d. All of the above
15. The weight and fabrication of the outer fabric are important factors in selecting:
a. Interfacings
b. Trims
c. Closures
d. All of the above
Matching
a.
b.
c.
d.
e.
Battenburg lace
Beading
Edging
Galloon lace
Insertion lace
__c__1. Any flat lace with one scalloped edge and one straight edge
__d__2. Any flat lace with two scalloped edges
__e__3. Any flat lace with two straight edges
__b__4. Any flat lace with eyelets for threading ribbon through it
__a__5. Loops of narrow, flexible tape secured into place by threads
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True or False
T F 1. In an item-driven environment, customers buy more single garments than coordinated
ensembles.
T F 2. Croquis sketches are illustrations of garments done on a flat surface without a body.
T F 3. Creative designers usually go directly to their final idea with a croquis sketch.
T F 4. Croquis books represent the development of variations of individual ideas.
T F 5. Many employers are more interested in seeing a job candidates croquis book than finished
boards.
T F 6. Color is the first thing seen when a garment is on the body.
T F 7. A symmetrical garment is different on each side.
T F 8. Dresses are classified as tops since they cover the torso.
T F 9. Cut and sew construction means garment pieces are cut from fabric rather than knit to shape.
T F 10. Full fashion construction means part of a sweater has been knit to shape.
T F 11. A patch pocket is an example of an inside pocket.
T F 12. If a garment requires a belt, it is best to sell the belt with the garment.
T F 13. A blouse sleeve tends to be more curved through the armscye than a shirt sleeve.
T F 14. Cowl necklines are a variation of the turtleneck and are placed close to the neckline.
T F 15. Flat collars have the same shape as the neckline and have no roll or stand.
Multiple Choice
1. The derivative approach to design begins with:
a. Sketching design ideas
b. Purchasing actual garments as samples
c. Studying primary resources such as cultural artifacts and interpreting them
d. Collecting tearsheets or swipes from magazines and the Internet
2. The innovative approach to design begins with:
a. Sketching design ideas
b. Purchasing actual garments as samples
c. Studying primary resources such as cultural artifacts and interpreting them
d. Collecting swipes from magazines and the Internet
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3. Collections of photos, sketches, and swatches to explore design direction are called:
a. Concept boards
b. Trend boards
c. Color boards
4. Professionals who work with design elements and principles in creative, original ways are referred to
as:
a. Artists
b. Designers
c. Stylists
d. All of the above
5. Color, line, texture, shape, and silhouette are:
a. Design elements
b. Design principles
6. Smaller shapes within the overall garment silhouette are used to:
a. Add interest
b. Help achieve fit
c. Allow for combinations of fabrics
d. All of the above
7. Seams, darts, gathers, and pleats are:
a. Style variables
b. Shaping devices to make a garment fit the body
c. Elements of garment design
d. All of the above
8. Which is considered as the most complicated type of top?
a. Shirt
b. Blouse
c. Jacket
d. Vest
9. Vertical lines tend to make the figure appear:
a. Taller
b. Shorter
10. Lighter colors tend to make the figure appear:
a. Smaller
b. Larger
11. Collars, cuffs, and pockets are all considered:
a. Trims
b. Decorative effects
c. Component parts
d. All of the above
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12. Convertible collars, Chelsea collars, and shawl collars are examples of:
a. Flat collars
b. Partial roll collars
c. Stand collars
d. Tailored collars
13. Peter Pan, Bertha, and sailor collars are examples of:
a. Flat collars
b. Partial roll collars
c. Stand collars
d. Tailored collars
14. The seam where a set-in sleeve fits to the bodice is called the:
a. Sleeve cap
b. Shoulder
c. Armscye
d. Raglan seam
15. Double welt pockets are:
a. Outside pockets
b. Inside pockets
c. Slash pockets
d. Both b and c
Matching
__b__1. Balance
a. Relationship or scale of parts to each other or the whole
__c__2. Emphasis
b. Sense of stability or equilibrium
__e__3. Harmony
c. The first place on a garment to which the eye is drawn
__a__4. Proportion
d. Organized movement of the eye through the parts of a garment
__d__5. Rhythm
e. All of the elements work together to produce a pleasing whole
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True or False
T F 1. Merchandise-driven product developers emphasize innovation in their design process.
T F 2. A line consists of the collection of garments offered for sale by a firm at a given time.
T F 3. Bodies are recurring styles that have already been perfected in styling and fit.
T F 4. Copyright law generally protects the design of garments.
T F 5. Item lines consist of products that can be merchandised and sold together.
T F 6. Coordinated group lines have become more challenging due to the popularity of separates.
T F 7. Product categories such as swimwear and dresses tend to be seasonal products.
T F 8. Collections may begin with many idea sketches that are discarded during editing to achieve the
final line offered to retailers.
T F 9. The bulk of apparel products today are modifications of previous styles.
T F 10. Counterfeit goods in the apparel business are typically identified by the misuse of brand
identity rather than the design of the product.
T F 11. Loss leaders in a seasonal line are priced higher than the rest of the line due to a unique feature
that appeals to the brands customers.
T F 12. The pyramid plan of assortment planning has more fashion items than basic items.
T F 13. A line is considered balanced when it includes a range of garments that satisfies the target
customer.
T F 14. Concept boards are developed before the design of line begins in earnest.
T F 15. Fabric and color direction are approved after silhouette development begins.
Multiple Choice
1. Garments that are line-for-line copies of another firms product are:
a. Knockoffs
b. Original designs
c. Illegal
d. All of the above
2. A coordinated group line usually consists of:
a. 3 to 8 pieces
b. 9 to 14 pieces
c. 15 to 30 pieces
d. 32 to 40 pieces
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3. The parameters of line development include understanding of:

a. The price points the customer is willing to pay
b. Styling in terms of aesthetics and fashion level
c. Timing of production and delivery schedules
d. All of the above
4. Fashion silhouettes that have long-term popularity are:
a. Classics
b. Basics
c. Carryover styles
d. Fad items
5. Apparel items that are available throughout the year over a period of many years are:
a. Classics
b. Basics
c. Seasonal goods
d. Fad items
6. When balancing a line, merchandisers consider:
a. Variety of styles to provide
b. Volume of demand for garments in certain styles, sizes, and colors
c. Where the items will be sold
d. All of the above
7. A sketch of a style of garment done on a full body silhouette is a:
a. Lay figure
b. Croquis
c. Flat
d. Technical flat
8. Storyboards provide an overview of a collection for line review and include:
a. The sketches of garment styles in a final line
b. Sketches of garment silhouettes being seriously considered for a line
c. Sketches of potential silhouettes and samples of colors and fabrics to be used for them
d. All of the lines to be produced for a season
9. Development of new style groups or silhouettes for a product line is achieved through:
a. Original designs
b. Modifications of previously successful styles
c. Knockoffs
d. All of the above
10. The assortment plan:
a. Includes a set number of garments in all the sizes for a style
b. Takes into consideration demand for certain styles, sizes, and colors
c. Distributes all garments in a line to each store
d. All of the above
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True or False
T F 1. The flat-pattern method of pattern development is defined as making styling changes to a basic
pattern.
T F 2. One advantage of in-house patternmaking is the possibility of better fit for the target customer.
T F 3. Using offshore patternmakers saves considerable time in the product development cycle.
T F 4. Standards for specific fabric care and fiber identification labels are enforced by the Federal
Trade Commission (FTC).
T F 5. Placing a sizing label on a garment is a mandated standard.
T F 6. Specifications are graphic and written instructions for making a garment meet standards of the
firm.
T F 7. Computer systems provide capability for real-time access to information by recording operations
as they occur.
T F 8. Closed specs are left rather generic to allow flexibility during production.
T F 9. The basic purpose of specifications is communication with all involved with the product
development process.
T F 10. Company standards are established before specifications are written.
Multiple Choice
1. The most commonly used method of making patterns today is:
a. Draping fabric on a body form to create a three-dimensional fabric pattern
b. Drafting a two-dimensional paper pattern directly from body measurements
c. Flat-pattern techniques of making changes to a basic pattern or sloper
2. Specification packages usually begin with:
a. A fabric swatch
b. A sketch of the proposed style
c. A list of construction steps
d. Measurements for the sizes to be produced
3. Technical flats are:
a. Sketches of a garment done on a figure
b. Drawn at a 45-degree angle to show the sides of a garment
c. Accurate two-dimensional sketches of garments shown as spread on a flat surface
d. Sketches of garments without the figure
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4. Allowable variations from proposed construction standards are known as:

a. Tolerances
b. Open specs
c. Closed specs
d. Seconds
5. First-phase design specifications include:
a. A component spec sheet
b. A preliminary cost estimate sheet
c. Fabric and findings specs
d. Instructions for construction
6. A preliminary cost sheet usually includes:
a. General style information
b. Fabric and findings identification
c. Estimate of labor costs
d. All of the above
7. The construction methods for a garment are identified:
a. During the design phase
b. During the pattern development stage, after the garment has been selected for production
c. During the production monitoring phase
d. Any of the above
8. Draped patterns are usually reserved for specialty garments because:
a. They are more costly to produce than flat patterns
b. It takes a different skill to produce this type than flat patterns
c. It requires a digitizer and computer to develop the pattern
d. Both a and b
9. The preliminary cost sheet includes costs that are:
a. Estimates for a sample garment
b. Estimates for a production run
c. Final costs for a sample
d. Final costs for a production run
10. Open specifications reflect:
a. Specific requirements for construction techniques
b. Suggestions for materials and construction that many contractors could produce
c. Identification of specific fabrics and findings
d. Requirements that limit the number of contractors that could produce the product
11. The type of patternmaking service that is the logical choice for a retail private label developer is:
a. In-house patternmaking departments
b. Patternmaking services
c. Full-service contractors
d. Any of the above
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True or False
T F 1. In the United States, Sizing standards are controlled by the government.
T F 2. Menswear sizing tends to be more consistent than womens wear.
T F 3. A sizing study done in the 1980s found older womens measurements about the same as others
except for location on the body.
T F 4. The average woman in America is a size 10, so the industry uses that size for samples.
T F 5. The rise is the measurement from the crotch to the waist in mens pants.
T F 6. When a woman fits into a range of three or more sizes, it is called vanity sizing.
T F 7. The inseam measurement in mens pants is from waist to hem.
T F 8. Mens furnishings include items of clothing such as shirts, ties, underwear, and accessories.
T F 9. The industry encourages the use of height and weight charts on infants wear rather than age.
T F 10. American apparel products sold in Europe are labeled the same as those sold in the United
States.
T F 11. The biggest consumer complaint about apparel products is fit.
T F 12. Off-grain garments hang evenly and appear symmetrical.
T F 13. Design ease is required to make a garment fit the body.
T F 14. Grade rules are the amount of change in measurements from one size to the next.
T F 15. Uneven grading is not possible in todays manufacturing environment.
T F 16. 13. Girls sizes are a growth area in retail and are sometimes called tweens.
Multiple Choice
1. Sizing standards in the United States are recommended by the:
a. Department of Commerce (DOC)
b. National Institute of Standards and Technology (NIST)
c. American Society for Testing and Materials (ASTM)
2. Petite miss sizing is designed to fit:
a. All women shorter than 5'6" in height
b. All women under 5'3" in height
c. Women proportioned small all over
98
3. The most common size range used by women in the United States is:
a. Misses
b. Petites
c. Womens
d. Womens petite
4. The average American female is:
a. 5'2" in height and about 125 pounds
b. 5'3" to 5'4" in height and about 145 pounds
c. 5'5" in height and about 160 pounds
d. 5'6"in height and about 110 pounds
5. Junior sizes are:
a. Same height as misses sizes but with odd numbers (7, 9, 11, etc.)
b. Same height as misses but with shorter torso
c. Shorter height than misses
d. Both a and b
6. Mens suits are labeled by:
a. Chest measurement
b. Chest and waist measurements
c. Chest and height classification
7. The elements of fit are:
a. Body measurements
b. Ease and body measurements
c. Ease, measurements, and grain
d. Grain, set, line, balance, and ease
8. The measurements for a size in the newest misses sizing standard from ASTM are:
a. Bigger than the same size in a previous standard
b. Smaller than the same size in a previous standard
c. Reflect vanity sizing in the apparel business
d. Both a and c
e. None of the above
9. To create a garment style, body measurements are supplemented by:
a. Design ease
b. Functional ease
c. Both a and b
10. Grading is:
a. Evaluating fit on a dress form or fit model
b. Scaling of pattern pieces to sizes of garments based on sample size
c. Evaluating the quality of garment construction
d. Changing pattern measurements evenly throughout the pattern blocks
99
11. Providing custom-measured products for an individual in a factory setting is:

a. Mass customization
b. Made possible everywhere through body scanning technology
c. Too expensive to work
12. What is the difference between toddler and childrens size categories?
a. Toddler sizes are simply shorter than childrens
b. Childrens sizes are bigger all over than toddlers sizes
c. Toddler sizes allow extra room for diapers
13. Diagonal wrinkles in a garment are:
a. An indication the garment is too large in that area
b. Pointing to areas where the garment is too snug
c. Of little importance unless they impede movement
d. All of the above
14. Functional ease is:
a. Required in garments to allow for body movement
b. Added to the body measurements for establishing fit of a garment
c. The same as wearing ease
d. All of the above
15. Tolerances are:
a. The difference between the allowable minimum and maximum measurements of a garment
b. Acceptable differences in the measurements of individual garments of the same size
c. Both a and b
16. The use of a computerized body scanner enables:
a. Products made to custom-fit individual consumers
b. Mass customization in a factory environment
c. Development of a new sizing standard for the United States
d. All of the above
100

True or False
T F 1. Quality cannot be inspected into a product.
T F 2. Quality assurance means inspecting products at the completion of production to detect errors.
T F 3. Garment standards originate in the technical design phase of product development.
T F 4. Firms doing business with the European Union (EU) need to follow ISO standards.
T F 5. The difference between the allowable variations in finished product measurements is the
tolerance.
T F 6. Price is a good indicator of product quality in womens wear.
T F 7. Lower stitch count is a sign of better quality garment construction.
T F 8. The most common seam type used in womens wear is the SSa type.
T F 9. The most common stitch type used in manufactured garments is the 301.
T F 10. Fiber content of all trims must be identified on the garment label.
T F 11. Care labels must be permanently attached to the garment.
T F 12. The country of origin of a garment must be on the care label.
T F 13. The wording of the country of origin label must identify where the garment was substantially
transformed.
T F 14. Drawstrings in the hoods of childrens coats are recommended for warmth.
T F 15. The union label is required by the government if a garment is union made.
T F 16. Plain fabrics require greater care in spreading than plaid or napped fabrics.
T F 17. Efficient layout of pattern blocks keeps fallout to a minimum.
T F 18. A short run requires many plies of fabric to be spread before cutting.
T F 19. Wet processing is done to assembled garments.
T F 20. Specification packs are information developed by technical designers to ensure garments are
manufactured to a firms standards.
T F 21. In manufacturing settings, designs are sold before they are produced in quantity.
T F 22. Production scheduling depends heavily on the turn time required to produce the garments.
Multiple Choice
101
1. Quality is:
a. The physical features of the product
b. The performance features of the product
c. However the customer defines
d. All of the above
2. Which organization provides help with wet test methods for evaluating textile products?
a. AATCC
b. ASQ
c. ASTM International
d. NIST
3. Which organization focuses on dry test methods for evaluating textile and apparel products?
a. AATCC
b. ASQ
c. ASTM International
d. NIST
4. When checking garment measurements for conformity to written specification guidelines,
a. Measure the garment flat on a table
b. Measure woven garments with full circumference measurements
c. Measure knit garments with half of the circumference
d. All of the above
5. The government requires identity of a garments fiber content as follows:
a. Any fiber over 5 percent of the total weight
b. If any percent of wool is used, it must be identified
c. The generic name of the fiber
d. All of the above
6. The written specification for a commonly used booked seam that can be pressed open after it is sewn
is:
a. 301 SSa
b. 406 BS
c. 504 SSa
d. 516 LLc
7. The classification used to indicate top stitching through one layer of fabric is:
a. Bound seam
b. Lapped seam
c. Ornamental stitching
d. Edge stitching
8. When a piece of fabric encloses the edge of another, it is a:
a. Bound seam
b. Lapped seam
c. Superimposed seam
d. Ornamental seam
102
9. Down time for bobbin winding has to be considered when selecting the:
a. Blind stitch
b. Lock stitch
c. Cover stitch
d. Chain stitch
10. Seam allowances in manufactured apparel are usually:
a. 1/4 inch on curves
b. 1/2 inch on straight seams
c. 5/8 inch all over
d. Both a and b
11. A marker is used to:
a. Show the layout of pattern blocks on the fabric
b. Ensure efficient use of the fabric
c. Spread the fabric out for cutting
d. Both a and b
12. The most commonly used production method for mass produced garments is the:
a) Progressive bundle system
b) Unit production system
c) Modular manufacturing system
d) Progressive unit system
13. Trimming threads and folding the garment is part of the _____________ process.
a. Spreading
b. Finishing
c. Construction
d. Inspection
14. The most common form of edge finish is:
a. Hems
b. Facings
c. Seam finish
d. All of the above
Matching
Section I:
a. 301
b. 401
c. 406
d. 516
__a___1. Stitch type with the least amount of stretch
__b___2. Preferred stitch for attaching elastic
103
__a___3. Most often used to topstitch collars and cuffs

__c___4. Stitch used to hem a T-shirt
__d___5. Stitch used to simultaneously sew and finish a seam
Section II:
a. Superimposed seams
b. Lapped seams
c. Flat seams
d. Edge finish
__c__1. Seam class that includes all configurations of butting two pieces together, end to end
__b__2. Seam used to attach patch pockets
__d__3. May involve only one ply of fabric
__a__4. Most common seam type
__a__5. Booked seam often pressed open
104

True or False
T F 1. Sourcing is the process of securing materials and production capacity beyond the firm that
originates a garment design.
T F 2. Offshore contractors in developing countries are trying to be more vertical in their operations.
T F 3. A major key to sourcing decisions today is the timing of delivery dates for products.
T F 4. Product developers have greater control over full-package suppliers than cut, make, and trim
(CMT) contractors.
T F 5. Sourcing decisions today are based on lowest labor costs.
T F 6. Outward processing is illegal.
T F 7. Fashion goods tend to be more labor intensive that staple goods.
T F 8. A simple, static sourcing plan benefits most product developers.
T F 9. Licensing allows you to put your name on products produced and sold by others.
T F 10. A companys sourcing strategy is determined by its strategic plan and marketing strategy.
T F 11. The percentage of apparel sold in the United States that is imported is currently about 50
percent.
T F 12. Electronic information sharing by computer has lessened the impact of distance on offshore
sourcing.
T F 13. Computer applications help reduce the number of samples needed in the product development
process.
T F 14. A large majority of American manufacturers make the apparel they sell.
T F 15. Companies refer to the combination of vendors they utilize for production as their sourcing mix.
T F 16. Direct sourcing is done by sourcing agents who provide full-package contracts for other firms.
T F 17. Li & Fung and MAST Global Fashion are among the largest sourcing companies in the world,
providing private label merchandise for many U.S. retailers.
T F 18. China is the largest national exporter of apparel in the world and home to significant production
capacity.
T F 19. The Middle East contributes very little to the global textile and apparel trade.
T F 20. A nations infrastructure is an important factor in the selection of sourcing partners.
105
Multiple Choice
1. As quotas were phased out by the WTO,:
a. More apparel was imported into the United States
b. Imported apparel remained at about 50 percent of consumption
c. Less apparel was imported into the United States
2. Moving textile production closer to apparel sourcing:
a. Has been fueled by lower textile prices in Asia
b. Encourages full-package programs
c. Cuts shipping costs
d. All of the above
3. A tax put on products being imported into a country is:
a. A quota
b. An embargo
c. A tariff
4. Reason(s) for using in-house, domestic manufacturing facilities is (are):
a. It is less expensive
b. It requires shorter lead times and can accommodate short runs
c. It is the easiest way to produce fashion goods
d. None of above
5. The sourcing method(s) used by U.S. firms for securing materials and production is(are):
a. Direct sourcing to domestic or foreign producers
b. Sourcing agents or trade fairs
c. Offshore facilities and joint ventures
d. Licensing
e. All of the above
6. Joint ventures are:
a. A risky alternative to owning offshore production facilities
b. Overseas facilities are owned by a U.S. developer to access cheaper labor
c. Ownership of a facility shared with a business based in another country
d. All of the above
7. The important factor(s) in selecting sourcing partners is (are):
a. Cost of labor, materials, and transportation
b. Ability of resource to meet quality specs and delivery times
c. Import duties and tariffs
d. All of the above
106
8. The difference between NAFTA and CAFTA-DR and many other free trade agreements with the
United States is:
a. NAFTA and CAFTA-DR require that garments made in those nations be constructed of
U.S.-made fabric and thread to qualify for tariff reductions
b. There is no difference; they all provide for free trade between those nations and the United
States.
c. The WTO does not allow different tariff rules between member nations
9. The area with the more highly skilled workforce, adept at working with a variety of fabrics, is:
a. Africa
b. Latin America
c. Asia
d. United States
10. The focus of European contributions to the apparel business is on:
a. Design concepts and high-value goods
b. Volume production of ready-to-wear
c. Production of accessories rather than apparel
d. All of the above
11. Hong Kong:
a. Is now officially part of China
b. Has moved from outward-processing arrangements in mainland China factories to relocation of
much of their industry there to take advantage of lower wages
c. Is home to TAL Apparel Group, one of largest apparel producers in the world
d. Serves as a regional sourcing hub for orders from around the world
e. All of the above
12. Quality problems occur most often with contractors dealing with:
a. Incomplete specifications
b. Subcontracting work when the contractor has an overload
c. Limited management skills
d. A countrys internal problems
13. Probably the most important reason for product developers to source out production today is:
a. Flexibility to follow fashion trends
b. Cost of labor
c. Cost of materials
d. Both b and c
14. The most frequently used business model used by product developers today for direct sourcing of
their garment production is:
a. Cut, make, and trim (CMT) vendors
b. Original equipment manufacturing (OEM) or package contractors
c. Full-package suppliers
107
15. The biggest apparel trade show in the United States is:
a. Mercedes-Benz Fashion week in New York City
b. Fashion Avenue Market Expo (FAME) in New York City
c. MAGIC in Las Vegas
d. Texworld USA in New York
16. The capacity of a factory to produce garments is measured by:
a. Throughput volume
b. Throughput time
c. Work in progress
d. All of the above
17. Duties, in the form of tariffs, are collected by the ______________at the port of entry:
a. Vendor
b. U.S. International Trade Commission
c. U.S. Customs and Border Protection (CBP)
d. Federal Trade Commission
108

True or False
T F 1. Cost of goods is the monetary value expended to produce a garment style.
T F 2. The price of products must exceed the costs by enough margin to provide a profit.
T F 3. Financial decisions do not affect the decisions of creative designers.
T F 4. The profit and loss statement always contains the same basic components.
T F 5. Variable costs stay the same no matter how many units are produced.
T F 6. Gross margin is what is left after the cost of goods is subtracted from net sales.
T F 7. The gross margin should be 50 percent of the price of a product.
T F 8. Profit is expected to be 10 percent of the price of apparel products.
T F 9. Licensing is a contract to pay for use of a name or logo on a product.
T F 10. Floor-ready product specs include costs of hangers and hangtags in the cost of goods.
T F 11. Apparel costs have gone up about the same as health and transportation costs over the past
decade.
T F 12. The typical goal is to keep cost of goods less than 50 percent of net sales.
T F 13. Retail markup includes the cost of goods.
T F 14. Private brand product developers benefit from savings in areas including marketing cost for a
branded label.
T F 15. Brand manufacturers can set the retail price of their products when they are sold by retailers.
T F 16. Precosting is an estimate of what it costs to produce one garment.
T F 17. Production costing is the actual cost of a finished garment.
T F 18. Landed costs represent the total cost of a group of finished garments including domestic
transportation to distribution center or retail stores.
T F 19. Fabric may be the largest single cost of an apparel product.
T F 20. A bill of materials identifies all actual materials to be used in the construction of one sample
garment.
T F 21. Marine insurance protects the merchandise on a truck or train used to get merchandise to
final destination.
T F 21. FOB price includes shipping.
T F 22. A pro forma invoice from a vendor serves as confirmation of the total cost of goods.
T F 23. A final invoice is the same as a pro forma invoice.
109
Multiple Choice
1. Components of the cost of goods produced includes:
a. Materials
b. Direct labor
c. Overhead
d. All of the above
e. Only a and b
2. Most businesses estimate the cost of goods figure as ________ of the total net sales.
a. 2030 percent
b. 3040 percent
c. 4060 percent
d. 7580 percent
3. The bill of materials covers:
a. Fabrics
b. Findings and trims
c. Labor
d. Both a and b
4. A gross is a measurement containing:
a. 12 dozen
b. 10 dozen
c. 12 pounds
d. 10 yards
5. Detailed labor costs are based on:
a. The list of construction operations for the garment
b. Standard allowed minutes (SAMs) for the operations
c. The contractors estimate
d. All of the above
6. Planning for quantity production is done in the:
a. Preliminary or precosting phase
b. Production costing or final estimate phase
c. Actual costing phase during production
d. All of the above
7. Precosting is based on the:
a. Original sketch for a garment sample
b. Projected costs for the production run
c. Actual costs for the production run
d. Similar garments produced in the past
8. Final costing can be projected accurately to the nearest:
110
a.
b.
c.
d.
$.01 per garment

$1.00 per garment
$.01 per dozen
$1.00 per dozen
9. The cost of imported goods must include additional fees for:

a. Transportation to a distribution center
b. Tariffs
c. Both a and b
d. Not included in cost of apparel goods
10. The final cost for a garment for the consumer is the:
a. List price
b. Wholesale price
c. Market price
d. Retail price
11. Factor(s) that can fuel an increase in cost of apparel production is(are):
a. Increasing competition for available apparel from consumers in countries such as China
b. Volatility in cost of cotton due to greater demand and crop damage
c. Increasing wages in developing countries
d. All of the above
12. Wages for cutters, machine operators, and production overhead are part of________.
a. Direct labor
b. Indirect labor
c. Gross margin
13. Costs of goods that may be overlooked by product developers include:
a. Fees for agents and factors
b. Tariffs and occasional quota reservation fees
c. Logistics
d. All of the above
14. List price is:
a. The wholesale price of the goods sold to retailers
b. A manufacturers suggested retail price for the product
c. The trade discount taken on the wholesale price that retailers pay a manufacturer
d. The retail price
15. The most comprehensive method of costing products, Activity-based costing (ABC), determines
cost of goods by:
a. Treating all costs as elements of product cost except support activities
b. Assigns some business costs to product cost and others to operating expenses
c. Considers only materials, construction labor, and sales commission as product cost; all other
expenses are in the general expense category
111

True or False
T F 1. Product development culminates in the sale and distribution of apparel products customers.
T F 2. The entire product development calendar is based on the delivery date for finished goods.
T F 3. The most common carrier for distribution of garments is air freight.
T F 4. If a company is confident that quality standards are met at the factory, it may drop-ship
garments directly to a retail store and bypass the distribution center.
T F 5. Apparel purchased online is typically shipped from a retail store.
T F 6. The final stage of the apparel supply chain is retail distribution.
T F 7. More than 25 percent of the U.S. population purchases most of their apparel at mass
merchandisers.
T F 8. The goal of mass merchants is to sell in quantity at lower prices.
T F 9. Sears and Kmart are part of the same firm.
T F 10. The store that sells the most apparel in the United States today is Walmart.
T F 11. The biggest challenge facing e-commerce is establishing garment fit.
T F 12. Most consumers have less access to fashion than in the past.
T F 13. Fashion bloggers have little effect on the future of talented young designers.
T F 14. Technology tools such as social media and video streaming enable retailers to communicate
directly with consumers in a cost-effective way.
T F 15. Costs for all textile products will probably be stable over the next decade because there are
always new sources of cheap labor in the global marketplace.
Multiple Choice
1. The type of retail store that focuses only on apparel sales is a:
a. Specialty store
b. Department store
c. Mass merchant
d. Discounter
2. The newest form of direct marketing or non-store retailing is:
a. Catalogue sales
b. E-commerce
c. Cable TV shopping networks
d. Door-to-door sales
112
3. An off-price retailer is a form of

a. Specialty store
b. Department store
c. Mass merchant
d. Non-store retailer
4.
The newest form of retail store is the:

a. Specialty store
b. Department store
c. Mass merchant
d. Pop-up store
5. The type of retailer that has had some difficulty with apparel marketing in recent decades but is
showing signs of recovery is the:
a. Specialty store
b. Department store
c. Mass merchant
6. The majority of garments sold in the United States today are purchased from a:
a. Specialty store
b. Department store
c. Mass merchant
7. Which of the following is considered a specialty store?
a. Chain stores
b. Outlet stores
c. Off-price retailers
d. All of the above
8. A computer system that allows someone to try on a garment to see how it looks, without the
presence of the actual garment, is:
a. A virtual fitting room
b. Mass customization
c. Required by catalogue merchants
d. All of the above
9. Retail trends in todays marketplace include:
a. Changes in consumer behavior prompted by the economic downturn
b. Too many of the same stores placed too close together to sustain customer interest
c. Increasing costs for labor and logistics resulting in increasing product costs
d. All of the above
10. The primary goal of todays product development team is to:
a. Provide a product that fits the consumer
113
b. Increase the companys market share

c. Create products different from their competitors
d. Provide products that sell for a profit
114
ISBN: 978-1-60901-309-7
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Instructors Guide

Copyright Bloomsbury Publishing Inc. 2012

About the Instructors Guide

What is Good Design?

Chapter 1: The Role of Product Development in the Apparel Supply Chain

Chapter 2: Business Planning

Chapter 3: Consumer Markets

Chapter 4: Trend Forecasting

Chapter 5: Color Management

Chapter 7: Findings and Trim

Chapter 8: Garment Styling

Chapter 9: Line Development

Chapter 10: Translating Concept to Product

Chapter 11: Sizing and Fit Specifications

Chapter 12: Quality Specifications and Vendor Compliance

Chapter 13: The Role of Sourcing

Chapter 14: Pricing and Costing

Chapter 15: Product Distribution

Introduction to the Spec Pack

Spec Pack Worksheets

Introduction to the Text

Beyond Design 3E Instructors Guide

Organization of the Text

Beyond Design 3E Instructors Guide

Beyond Design 3E Instructors Guide

Discussion Questions, Activities, and Resource References

Glossary of Terms and Garment Details

Beyond Design 3E Instructors Guide

About the Instructors Guide

Beyond Design 3E Instructors Guide

Creativity relies on lateral thinking

Creativity requires passion and a sense of humor

Reliance on both verbal and visual imagery to explore an idea

Learn to identify the critical issues of a problem

Resources (Creativity, Color Names, Fashion Dictionaries)

Sherwin, David. Cincinnati, Ohio: HOW Press

Beyond Design 3E Instructors Guide

What Is Good Design?

Good design has integrity and fulfills a purpose.

Beyond Design 3E Instructors Guide

Beyond Design 3E Instructors Guide

Sketchbooks and Visual Journals

Beyond Design 3E Instructors Guide

Beyond Design 3E Instructors Guide

Tools for the Creative Classroom

The Design Brief

Project overview and background

Collection scope (garment category, assortment plan)

Beyond Design 3E Instructors Guide

o Pricing (wholesale or retail)

Due date (pre-critiques and final presentation)

Beyond Design 3E Instructors Guide

Beyond Design 3E Instructors Guide

Beyond Design 3E Instructors Guide

Beyond Design 3E Instructors Guide

Creativity: Unique source of inspiration;

Flats and silhouette development: Both front

Chapter 1: The Role of Product Development in the Apparel Supply Chain

Suggested Class Activities, Assignments, and Projects

Discuss their growth strategy over the past ten years.

Discuss job opportunities with these companies.

Discuss the computer programs used by these companies.

Beyond Design 3E Instructors Guide

Chapter 2: Business Planning