Dress Code by Dara Weinberg

Dara Weinberg G r a ph i c D e s i g n M FA T h e s i s

ÂŠ 2012 Dara Weinberg. All rights reser ved.

DRESS CODE Graphic Design MFA Thesis Project Academy of Ar t University San Francisco, CA

For further information: w w w.dresscodeusa.com For more work by Dara Weinberg: w w w.dara-weinberg.com Contact: dara.n.weinberg@gmail.com +1.818.400.6705

Dar a Weinberg G r ap h i c D e s i g n M F A T h e s i s

DARA WEINBERG

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DRESS CODE

What is

DRESS CODE? a n o n l i n e reso u rce t h a t w i l l R E D I R E C T a g e n er a t i o n o f f a s h i o n co n s u m ers t o m ore s u s t a i n a b l e p r a c t i ces a n d v a l u es .

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CONTENTS

B ACKG RO U N D p. 016

RESEARCH p. 016

D E S I G N E X P LO R AT I O N p. 016

DESIGN SOLUTIONS p. 016

USER RESPONSE p. 016

TH A NK YO U p. 016

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BACKG ROU N D

BAC KG R O UN D

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" t h e b l a n ke t o f s u rro u n d i n g m y n o l o n g er s a t

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BACKG ROU N D

f s u p er f i c i a l i t y y c h ose n c a reer w e l l w i t h m e ."

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de f i n i n g a gr aphic design m fa t h es i s

BACKG ROU N D

A Master's Thesis for graphic design is still a relatively new concept, and as such, it can be difficult to define. In short, a Master's Thesis project asks that a student identify a problem that can be addressed through graphic design. Then, the student is tasked with researching, experimenting with, and ultimately implementing a large-scale solution to this problem over the course of a year and a half. Some would argue that the most overwhelming aspect of the entire process is choosing a topic to begin with. The world is brimming with problems large enough to warrant a students' academic attention over the course of 18 months. The trick, however, is to choose a topic that strikes a chord within the student himself. This spark of passion, likely based on past experience, fuels a student on the long, circuitous path that characterizes every thesis project. Looking back, it's surprising that I found this task to be so daunting: the answer lay in plain sight.

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BACKG ROU N D

After receiving a BFA in costume design, I found myself in Los Angeles working as a wardrobe stylist for films, commercials, editorial shoots, and red carpet events. In those six years, I collected myriad once-ina-lifetime experiences, and an enduring love of clothing as a means of expression. That said, I never felt comfortable in that world. The importance of appearing current was palpable and overwhelming. I found myself frequenting fast fashion chains such as H&M or Forever 21 on a weekly basis, snapping up a cheap piece or two so as to "look like a stylist." I told myself it simply came with the territory, but as my bank account lessened and my walk-in closet filled up to the brim with clothing I didn't particularly want or need, I realized that the blanket of superficiality surrounding my chosen career no longer sat well with me. I decided to make a career change and move to San Francisco to pursue a Master's degree in graphic design.

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FINDING MUJI

MFA THESIS 2012

I found inspiration in a book about the chain MUJI, which was founded in Japan in 1980 as an antithesis to the habits of consumer society at that time. MUJI's philosophy spoke to the idea that I thought that my thesis could embody: "we need to live reasonably if we are to have a future." The idea that doing more with less can be a covetable way of life isn't exactly uncharted territory. But in the fashion world, it's a dirty little secret. And so, the process began.

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BACKG ROU N D

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RESEARCH

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" TH E R E A R E V E R GA R M E NT S P R O D U W E A R ING R AG

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RESEARCH

R Y F E W Q UALITY U C E D . P E O PL E A R E S , BA S I C ALLY."

E L I Z A S TA R B U C K de s igne r, Br ight Young Things

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de f i n i n g t h e p ro b l e m

RESEARCH

There is a large scale propensity for thoughtless waste in the fashion industry. While society has begun to place paramount importance on a maintaining a sustainable lifestyle in many other arenas, somehow that value system does not yet translate to consumers' most personal possession: their wardrobe. In her 2011 book To Die For: Is Fashion Wearing Out the World?, journalist Lucy Siegle states that consumers today buy roughly four times the amount of clothing they did in 1980, adding up to about 62 pounds of clothing per person each year. Yet despite their overstuffed closets, most consumers only wear about 10% of the clothing they own. Big box brands like H&M and Forever 21 churn outcheap, poorly constructed, ephemeral clothing that rotates in stores weekly. As old purchases fall apart or out of fashion, consumers return for more flimsy items. Many companies pay lip service to being "green," but fully embracing the ethos is difficult. Few follow through. Without undeniable consumer demand, there's little incentive for them to do so. But: consumers have the power to fundamentally change the face of the fashion industry and redirect it to a more sustainable future.

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RESEARCH

» T H E VA LU E S Y S T E M I N A M E R I C A W H E R E FA S H I O N I S CO N C E R N E D I S I N D E S P E R AT E NEED OF AN OVERHAUL .

» it ' s time to learn how to construct and maintain a wardrobe that will e q ually sustain us : emotionally , physically & environmentally .

» BEFORE: fair trade and sustainable materials should be industr y standard, rather than a niche concept. » DURING: the current trend must be reversed. C o n s u m e r s s h o u l d s e e k o u t f e w e r, b u t h i g h e r q u a l i t y i te m s t h a t p o s s e s s l o n g e v i t y. » AF TER: consumers need to treat and care for t he clot hing t hey have like t hey are prized possessions. This promotes longevit y while also reducing waste.

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RESEARCH

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OPPORTUNIT Y GAP

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Nearly all of the literature and websites I found that deal with this issue were (i) 300-page tomes demanding hours of absorption; (ii) initiatives put forth by organizations like Greenpeace that may not necessarily be on the average fashion consumer's radar; or (iii) heavily ornamented, poorly designed publications and online presences that came across as homemade and out of touch. Much of the information itself is useful and on target, but if these resources don't reach fashion consumers, what does it matter? It became clear that the movement for sustainability in fashion was sorely in need of a persuasive visual voice.

DRESS CODE

RESEARCH

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MAN DANA MAC PH E R S O N fashion and sustainability expert

JAN E AG E R S l e a d d e s i g n e r o f w om e n s w e a r, V i c tor i n o x Swiss Army

MI C H E L E R O N S E N academic advisor

MA R JAN MALA K P O U R w a r d r o b e s t yl i s t, a c c e s s or i e s d e s i g n e r, fashion consultant

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a dv i sory t e a m

RESEARCH

When going about an undertaking of this magnitude, one of the most essential elements is a strong assembly of advisors. Over the course of the project, I received a variety of insights from the sustainability, the business, fashion, and academic sectors. I began the first semester under the advisement of AAU faculty member Mandana MacPherson, adjuct professor in the school's fashion department specializing in the topic of sustainability in fashion design. Mandana has spoken about sustainable fashion at a variety of conferences, developed Stanford University's first mechanical engineering sustainability course, and has a line of reclaimed rubber accessories. My semester spent under Mandana's tutelage was incredibly helpful from a sustainability research standpoint. Jan Eagers was a huge help and influence before the project proposal was even approved. The lead designer of womenswear at Victorinox Swiss Army, Jan is equally based in Colorado and Manhattan, and is a fountain of knowledge about fashion and sustainability. She and her husband Michael, an ecologically conscious architect, are champions of a future where great design that is lasting and renewable becomes the norm, rather than a niche idea. Michele Ronsen, my academic advisor in my second semester of thesis development, proved to be a gigantic help from a logistical standpoint. Her varied experience as creative director with a wide breadth of well known institutions made her an invaluable resource. Over that semester, all of the final pre-design decisions came together: from the name (Dress Code was initially called Redress), to the deliverables, to the qualitative and quantitative research that substantiated the project. Finally, I called on Marjan Malakpour, the stylist who I assisted for the majority of my career. Her understanding of the fashion world is innate and untouchable, and I learned a great deal from her about the merits of eschewing cheap, ephemeral clothing in favor of creating a meticulously culled wardrobe made up of lasting investment pieces.

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THE SURVEY

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I put together an online survey that gathered results from 400 respondents. The survey dealt with consumer habits, desires and interests.

t h e ta ke away: g re at es t i m p or ta n ce i s p l aced o n q u i ck re a l i z at i o n o f s t y l e . s u s ta i n a b i l i t y i s n ot a co m m o n va lu e w h e n s h o p p i n g for c lot h i n g .

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LO C AT I O N S

San Francisco

Vermont

New Jersey

Texas Suburb

California Suburb

Maine

New York City

Boston

Brooklyn

Washington, DC

New Hampshire

Connecticut suburb

Los Angeles

PA Suburb

Tennessee

Florida Suburb

Montana

Virginia Suburb

Portland

Arizona Suburb

Chicago Suburb

Indiana Suburb

30% MEN

70% WOMEN

AGE BR ACKE T

INCOME

18-25:

14%

under 20,000:

26-35:

63%

20,000 – 35,000: 10%

36-45:

10%

36,000 – 45,000: 10%

46-55:

05%

46,000 – 55,000: 09%

56-65:

08%

over 76,000:

17%

27%

1/2

buy clothing for a combination of reasons: necessity, emotional fulfillment, and fun. The other half stated that they bought clothing purely out of necessity.

24%

shop often at all types of thrift stores and are overwhelmed by a preceived lack of organization and excessive amount of choices to wade through, and so generally avoid thrift shopping

1/2

said they shop more and throw away more than they did before they were introduced to fast fashion stores

1/4

discard clothing that needs something as simple as a button replacement or minor mending, rather than fixing it themselves or having a tailor do so.

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ANN TAYLOR LOF T E XPRESS

M ARSHALL’ S

NORDSTROM

ONLINE

JCREW G ILT

URBAN OUTFIT TER A BANANA REPUBLIC V I C TO R I A’ S S EC R E T

VIN

TARGE T M ACY ’ S BL FO GAP OLD JC PENNE Y

TO P S H O P

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M ADEWELL INDIE BOUTIQUE

M O D C LOT H

DRESS CODE

RESEARCH

H&M W

WAL M ART ROSS

KOHL’ S LE V I ’ S Z AR A A MERIC A N A PPA REL

ANTHROPOLOGIE

NTAGE/ THRIF T

LOOMINGDALE’ S

ORE VER 21 NAV Y

FREE PEOPLE

S T O R E S S H O PP E D AT

Above is a word cloud representation of the stores most shopped at by the survey respondents. Most of these were not surprising: J. Crew, H&M, Urban Outfitters, Target, Macy's, etc were the top contenders. A surprising outcome was the amount of thrift shopping the respondents claimed to take part in.

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TH E D R E S S CO D E U S E R:

RESEARCH

» H as a vested interest in fashion » I s either male or female » I s A merican , between 1 8 and 3 5 years old » H A S A N I ncome between student loans and $ 7 0 , 0 0 0 / year » has a V ery cursory understanding of the need for better existing practices within the fashion industry » has not necessarily taken action to enact improvement in his or her own closet . » A ppreciates creativity , whether or not he or she is creatively inclined . » L ikes to shop, but H A S n ' t T R U ly consider E D the implications of his or her habits » I s either in college , or has attained a college degree » R eads online and print publications such as V ogue , E lle , E s q uire , G Q , R efinery 2 9 , kin folk , a continuous lean , the sartorialist

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P rof i le:

ERIC + JESSICA In order to get a better feel for the type of user who would be inclined to live in a Dress Code-friendly way, I began interviewing people who fit the bill. The interviews will become a monthly feature on the Dress Code blog. This entry is comprised of excerpts from a session with Eric and Jessica Gosselin, a married couple who decided together to buy only Made in America for the year 2012.

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" I t FE LT G O O D TO K N OW THAT I WA S S UPP O R TING A S MALL BU S IN E S S R ATH E R THAN A GIANT CO R P O R ATI O N ."

ERIC GOSSELIN s tor y pro duc e r, raw de nim aficionado

I came to my decision to mostly buy clothing made in the USA because I wanted to buy clothing with the confidence that I wasn't supporting a company who used sweat-shop tactics, or who outsourced to foreign countries while our own country was plagued with such a high rate of unemployment. I am interested in boutique menswear, so I was fortunate enough to be aware of several companies that I knew made small runs of high quality goods exclusively in America. It felt good to know that I was supporting a small business rather than a giant corporation In some ways this has curbed my spending habits, since I have to be constantly aware, but I suppose it's a give and take because most of the items that I've bought are (understandably) a bit pricier than something made out of the country for cheap labor. I can justify spending more for something that's made by hand, by a person who cares about what they are making, and will most likely last longer. I can't say that I've been 100% successful in my endeavor, however â&#x20AC;&#x201D; for some reason quality underwear that is made in America AND reasonably priced is hard to come by â&#x20AC;&#x201D; but it is definitely a practice that I'm going to continue with and try to be as responsible as I can.

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" I S TILL WANT TO S UPP O R T MY CO UNT RY, BUT ' TIL l L . L . B E AN MA K E S E V E NING W E A R , I ' LL HAV E TO K E E P MY O PTI O N S O P E N ."

JESSICA GOSSELIN te ac he r, home s e we r

I began taking sewing lessons when I was 7 or 8 years old. My great grandmother was a professional seamstress and I had grown up with my mom and aunts making all my special occasion dresses and dance recital costumes. With that family history, it's no surprise that I have altered and created my own clothing most of my life. For my husband's New Year's resolution for 2012, he decided that he was only going to buy American made clothing. I thought that was a great idea, so I joined him. Supporting local small business felt like a responsible move. In the end, I don't think I bought any clothing from January until March or so. Then one day I found a brand in Nordstrom Rack that was made in America. I was surprised to find that Marshalls and Nordstrom Rack had quite a few options if you felt like searching. I didn't feel like I was supporting small business, but was interested to realize how many items were available in mass market stores. I didn't make it through the whole year. My job trumped my project and I bought quite a few new tops and work pants. However, I do think the overall awareness it brought to my shopping has made me a lot pickier about quality, and country of origin. I still want to support my own country as much as possible, and do so, but until LL Bean makes evening wear, I probably will have to keep my options open.

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D E S I G N E X P LO R AT I O N

D e s ign

e xp lor at i o n

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" w h a t e v er i t i seek i n g w o n ' t co y o u ' re e x

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PREFACE

i s t h a t y o u ' re co m e i n t h e f or m x p ec t i n g ."

HA R U K I MU R A K AMI

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t h e v i s ua l vo i ce

D E S I G N E X P LO R AT I O N

In order to determine the most appropriate visual voice for the project, massive amounts of research ensued. A designated Pinterest board was set up, books were purchased, the internet and magazines were scoured. After a few false starts, I honed in on the direction that made conceptual sense: clean, classic, with a pop of modernity to keep the site feeling relentlessly current. The biggest problem with the resources and blogs that deal with sustainability in fashion is that they lack the aesthetic sophistication to appeal to consumers who are not already entrenched in the sustainability crusade.

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D E S I G N E X P LO R AT I O N

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D E S I G N E X P LO R AT I O N

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Code

D E S I G N E X P LO R AT I O N

s s e r D CO DE

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D E S I G N E X P LO R AT I O N

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DESIGN SOLUTIONS

D e s ign

S O LUTI O N S

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" f e a r l ess ly l e a g ro u n d t h ro u g co n s u m er i s m

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DESIGN SOLUTIONS

a d . . . t o a h i g h er g h , n o t des p i t e , m a n d des i g n ."

J O H N C . J AY c re at ive dire c tor, MUJ I

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fro m rese a rc h to R E ALITY

DESIGN SOLUTIONS

Once the logo was finalized, the rest of the identity began to fall into place. I felt that the logo evoked the classic, yet decidedly modern feel that Dress Code needed, and an internet poll proved my instincts to be true. Running with the spirit of the logo, a muted color palette with a pop of bright red was chosen, along with clean typefaces that have become workhorses of the internet. The site is compatible with all mobile devices, including tablets and phones. As Dress Code is mostly web-based, it was of utmost importance that the type be first and foremost optimally suited for the web. Brandon Grotesque's 1930's inspired headline face paired with the web serif Georgia and the modern, legible body face Proxima Nova complete the Dress Code type family. Design solutions were implemented based on my research and survey results. Dress Code is an online resource, offering tools, tutorials, maps, challenges, and information to help the average fashion consumer become a conscious one.

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DESIGN SOLUTIONS

LOGO GUIDELINES Each mark may be placed independently of each other. The longer wordmark serves as header on the website and functions in horizontal spaces or when the brand's full name must be spelled out. The stamp may be used as a "seal of approval," or as a proprietary seal.

3X 3X

1.05"

.25"

Minimum size is .25" height

1/2 X 1/2 X

TYP E & CO LO R BR ANDON GROTESQUE AB C D E FGHI J K LMN O P Q R S TUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 GEORGIA A BCDEFGHIJK L M NOPQR ST U V W X Y Z abcdefghijk lmnopqrstuv w x yz 0123 4567 89 A BCDEFGHIJK L MNOPQR ST U V W X Y Z abcdefghijklmnopqrst uvwx yz 0123456789 P R O X I M A N O VA ABCDEFGHIJKLMNOPQRSTUV WXYZ abcdefghijklmnopqrstuv wx yz 0123456789

C M Y K

17 4 15 0

R G B

209 224 215

C M Y K

0 97 83 0

R G B

244 37 52

C M Y K

12 21 26 0

R G B

223 199 183

C M Y K

73 66 62 67

R G B

38 39 41

A B C D E F G HI J K L M N O P Q R S T U V W X Y Z abcdefghijklmnopqrstuv w x yz 0123456789

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QUIZ HOME

L A Y O V ER SCREEN

AB O UT

C O NN E C T

W HA T IS

C O N T AC T

D RESS C O D E ?

CHALLENGES

VIDEO

PRI O RI T Y

IN F O GRAPHICS

PERS O NAS

CREA T E PR O F I L E ov e r l a y

IN F O GRAPHIC 1 : T I M E L INE

PR O F I L E

W INNERS

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S O LUTI O N S

L O NGE V I T Y

B U D GE T

FIT

C O M M ERCE PAGE

T REN D

N O T I F Y SCREEN

I M PAC T

MAINTENANCE KITS

T U T O RIA L S HOME

T U T O RIA L 1 :

T U T O RIA L 2 : PA T CH A H O L E

DESIGN SOLUTIONS

BL O G

CI T Y M APS : L O S ANGE L ES

SE W A B U T T O N

T U T O RIA L 3 : M EN D A K NI T

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QUIZ HOME

L A Y O V ER SCREEN

AB O UT

C O NN E C T

W HA T IS

C O N T AC T

D RESS C O D E ?

CHALLENGES

VIDEO

PRI O RI T Y

IN F O GRAPHICS

PERS O NAS

CREA T E PR O F I L E ov e r l a y

IN F O GRAPHIC 1 : T I M E L INE

PR O F I L E

W INNERS

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S O LUTI O N S

MAINTENANCE KITS

T U T O RIA L S HOME

T U T O RIA L 1 : SE W A B U T T O N

T U T O RIA L 2 :

DESIGN SOLUTIONS

BL O G

CI T Y M APS : L O S ANGE L ES

PA T CH A H O L E

N O T I F Y SCREEN

L O NGE V I T Y

B U D GE T

FIT

T REN D

I M PAC T

T U T O RIA L 3 : M EN D A K NI T

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DRESS CODE

ENTER THE WEBSITE

DESIGN SOLUTIONS

The home page is warm, inviting and clean, immediately encouraging user engagement. A scroll down from the full-page image reveals a short video about Dress Code, an opportunity to take the Priority Persona Quiz, as well as links to tutorials and blog posts.

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DESIGN SOLUTIONS

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INFOGRAPHICS

An important part of a conscious consumer's tool kit is the knowledge with which to make responsible choices. Dress Code offers new infographics bi-monthly that provide vital information that every conscious clothing consumer should be aware of. Examples of future topics that will soon come down the pipeline:

» » » » »

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WHERE D O YOUR USED CLOTHES GO? T H E H I D D E N CO S T O F FA S H I O N editing your closet KE Y INVESTMENT PIECES M A N M A D E V S S Y N T H E T I C FA B R I C

DRESS CODE

DESIGN SOLUTIONS

F r o m Q u a l i t y to

QUANTIT Y FOR HUNDREDS OF YEARS, CLOTHING WA S HANDM ADE O R TA ILO R ED.

BE C O M I N G A FA S T FA S H IO N N A T IO N

S TO RE-BO U G HT CLOTHING B E C A M E I N C R E A S I N G LY AVA I L A B L E A F T E R 1 9 0 0 .

2012

PIECES OF CLOTHING

T H E 3 R E TA IL ER S WITH H I G H E S T

B O U G H T BY T H E AV E R AG E

VA LU E I N T H E R EC E S S I O N :

CONSUMER IN A YEAR:

H&M

6 4 (OR 1 PER WEEK )

WAL M ART ZARA ( F O R E V E R 2 1 I S P R I VAT E LY H E L D)

2011

1900

TA RG E T H A S O PEN ED 1 , 3 3 0 U S A

PERCENT EARNINGS SPENT ON CLOTHING: 15%

1929

LO C ATI O N S S IN CE 1 9 9 1

2009 PERCENT EARNINGS

WORK OUTFITS OWNED BY MIDDLE CLASS MAN: 6 WORK OUTFITS OWNED BY MIDDLE CL ASS WOMAN: 9

1955

SPENT ON CLOTHING: 3%

A M ER I C A N-M A D E A PPA R EL

INDUSTRY & L AUNCHES “ STEAL

BOUGHT IN USA: 90%

OF THE MONTH” SECTION

VOGUE M AGA ZINE SHOCKS

IN 1990: 50% IN 2012: 3%

1962

2005

J CPENNE Y H A S LO C ATI O N S

THE PRAC TICE OF SL ASHING

1999

I N A L L 5 0 S TAT E S , PAV I N G T H E WAY F O R D I S C O U N T C H A I N S :

PRICES REACHES NEW HIGHS. D EPA R TM EN T S TO R E M ERCH

G A P O PEN S 570 LO C ATI O N S

K M A R T & TA RG E T FO U ND ED.

PURCHASED ON SALE: 60%

IN JUST ONE YE AR. OTHER R E TA IL ER S , SU CH A S ED D IE BAUER AND A MERICAN EAGLE, FOLLOW SUIT.

1983

1996

S TA R T S A B O OM O F S A L E S A ND

SHARON STONE WE ARS HER

MARKDOWNS. PRICE BECOMES

FA MO U S G A P T U R T L EN ECK /

PA R A MO U N T, A N D I S S EEN FA R

VA L E N T I N O S K I R T O U T F I T AT

MORE THAN STYLE IN ADS.

T H E O S C A R S . FA S T FA S H I O N O F F I C I A L LY A C C E P TA B L E .

1994

1989

O L D N AV Y D E B U T S , B R A N D I N G

ZARA , FORERUNNER OF THE

C H E A P, B A S I C C L O T H I N G W I T H

FA S T FA S H I O N I N D U S T R Y,

S H I N Y , C A N D Y- C O L O R E D A D S

OPENS ITS DOORS IN THE US.

A N D PACK AG IN G .

1 9 9 0 ’s D EPA R TM EN T S TO R E S B EG IN TO LO S E R E L E VA N C E , T U R N I N G I N TO G E N E R I C C H A I N S T H AT B A R E LY R E S E M B L E T H E I R F O R M E R S E LV E S .

F r o m Q u a l i t y to

QUANTIT Y It may be hard to believe that in less than a ce n t u r y, w e h a ve g o n e f ro m p u rc h a s i n g 9 w o r k o u t fi t s a l l y e a r t o b u y i n g a n a v e r a g e o f o n e i t e m of clothing per week. Or that less than 25 years ago, half of all the clothing we bought was made in America, and now nearly 100% of what we buy has been imported from factories overseas.

As the 20th centur y progressed, price became king. Quality of fabric and craftsmanship became an af terthought at best. Clothing was produced more quickly and cheaply as consumers demande d b e t t e r d e a l s , T o d a y , w e s p e n d a n i n fi n i t e s i m a l portion of our budget on clothing, yet we buy two to three times as much as we did 100 years ago.

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Dress Code's challenges invite the user to become actively involved. Every few months it will host a new challenge. Users upload images that prove their involvement to their challenge profileâ&#x20AC;&#x2122;s gallery. When the challenge is over, a winner who deserves the Dress Code Stamp of Approval will receive a prize. There are many challenges in the works. The Trade Up Challenge is the very first one. Participants log every item they purchase. The item must meet the Dress Code Stamp of Approval criteria. For each item purchased, the user must dispose or upcycle one piece of fast fashion sustainably. The goal: slowly build a Dress Code-friendly wardrobe worthy of pride for years to come, while also promoting a new level of self-awareness in one's shopping habits.

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PRIORIT Y PERSONAS

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The findings from my survey unlocked a discovery: habits and values regarding fashion consumerism could be easily broken down into five archetypes, which could be combined in several ways. These archetypes, ultimately named Priority Personas, proved an excellent vehicle to establish an emotional connection with the user. After taking a quiz, the user is awarded a Priority Persona, which helps her to identify with the story on a tangible level. Corresponding icons are used throughout the site; bread crumbs that point the user towards information that speaks to her specified interest.

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BU D G E T

FIT

The Budget Persona seeks out clothing based on price point. Its value is tied to its affordability.

The Fit Persona seeks out clothing that has the most flattering fit. Value is tied to body image.

IMPA C T

t re n d

longevit y

The Impact Persona seeks out the most sustainable global impact. Value is tied to the environment.

The Trend Persona seeks out clothing that is fashionable and of the moment. Value is tied to image.

The Longevity Persona seeks out clothing that will last the longest. Value is tied to staying power.

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CIT Y MAPS

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One of the most common comments received throughout all field research, surveys, and consulting of resources was that the average fashion consumer simply wasn't aware of how to take care of their clothing, where to take it when it needed mending or altering, or what the best place was to drop off their unwanted clothes. Parts of these concerns are attended to elsewhere on the site, but the majority of the information can be found on the city maps. The maps are broken down by priority persona, so the user can find the information they're looking for quickly. Categories like tailors, dry cleaners, waste drop off locations, Dress Code friendly boutiques, and more are covered on the city maps.

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TUTORIAL S

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Respondents to the Dress Code survey overwhelmingly said that they found the most simple tasks, such as sewing on a button or patching a hole, to be too intimidating to even contemplate performing. One participant was visibly shocked to learn that keeping a well-loved jacket was as easy as spending 10 dollars at a tailor, or alternatively, patching it up himself. The website tutorials help demystify these basic tasks for beginners, and provide refreshers for more seasoned users.

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BLOG

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MAINTENANCE KITS

One of Dress Code's main tenets is that all fashion consumers need to preserve the longevity of the wardrobe they have â&#x20AC;&#x201D; and more than that, they must desire to do so. Part of that is achieved by investing in pieces that can and should last a lifetime. It's also vitally important to be able to perform basic tasks like sewing a button, or mending a hole, or even removing pills from a sweater. The Maintenance Kit provides all the tools necessary to take care of one's clothing so it remains as precious as the day it was purchased. Full color printed city maps belonging to the user's town enhance the tools. The kit's stylish packaging makes it more inviting to try a task one might have deemed insurmountable in the past.

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ADVERTISING

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SOCIAL MEDIA

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WHAT C O M E S N E XT ?

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Dress Code is anything but a static entity. It has room to grow, change and expand over time. Most of the features, like the infographics, tutorials, maps and challenges, can and will be updated regularly, creating a more well-rounded experience for the user. From there, the sky's the limit. While at the outset it didn't make sense to turn Dress Code into an application, once it has accrued a steady following, an app for the challenge and map portions of the site will be a great addition to the brand. In keeping with the emphasis on solid, lasting, quality products, a year or so down the line will be the right time to create a hard bound book that brings the Dress Code philosophy to your coffee table. We also look forward to seeing events hosted by Dress Code, like a large-scale clothing swap and upcycling tutorial sessions. The future could also hold a clothing rental organization, downplaying the importance of constantly buying new things by fulfilling that craving with an ostensibly renewable rental. At its core, Dress Code is a tool kit, and there is almost no end to the different tool iterations that could be concocted. We promise to grow and change even as the face of sustainability in America changes.

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Use r

RESPONSE

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" n o w t h ere i s dr i v i n g f a c t or my han

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a p u r p ose a n d behind filling n g ers ."

HAL E Y TH O MP S O N

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A S S E S S ING IMPAC T

USER RESPONSE

Dress Code will consider itself to be on the road to success when it can measure an improvement in the way its audience members consider the environmental impact their shopping habits have. This may manifest in the form of a more critical interest in traceability of clothing, and the ways that new knowledge af fects audience shopping habits. Ways to quantif y this might include the number of par ticipants who are following updates on the site, or the percentage of sustainable clothing purchased vs. fast fashion in a 6 month period (this could be calculated through challenge results). We also want to assess the change in the way people shop (buying fewer fast-fashion, disposable pieces and opting for a select few well-made, aesthetically lasting pieces), in addition to the way they care for what they have. When this change becomes apparent, we will consider ourselves successful in the economic spectrum. Dress Code has only been live for a shor t time, but it already has evoked a strong response from its users. The following pages provide a cross section of these responses.

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" dress code i s t h e co m p l e t e pack ag e : a n ov e l ta ke o n a n i ss u e o f re a l co n cer n . t h i s i s a n i m p or ta n t too l ."

SARA MIRSKY law ye r, b out iq ue shopp e r

Dress Code is the complete package: a novel take on an issue of real concern presented in a thoughtful, compelling manner. The country is finally attuned to the global impact caused by our decisions regarding food, oil consumption, and other lifestyle choices. However, there has not been enough attention paid to the very real problems we perpetuate by purchasing â&#x20AC;&#x201D; and disposingâ&#x20AC;&#x201D; cheaply manufactured clothing. Dress Code draws consumers in with beautifully constructed interface and keeps their attention with imaginative products, real-world examples, and compelling arguments. This is an important tool to educate society about this critical issue.

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" v ery F E W h av e CO NN E C t ed TH E VALU E O F INV E S TING IN A Q UALITY GA R M E NT WITH TH E LA R G E R I S S U E O F S U S TAINABILITY."

CRAIG MASSIE mark et re s e arc h manage r, online shopper

This is a wonderful project that will transform into a valuable product. I've read a number of publications and websites that remind consumers to revisit the value of well-made, long-lasting clothing â&#x20AC;&#x201D; especially in terms of their wallets or personal connection to garments that, to a certain extent, become a part of the wearer (e.g. raw denim jeans or good pair of boots). But very few have connected the value of investing in and maintaining a quality garment with the larger issue of sustainability. Moreover, Dress Code does not simply preach its message; it invites readers/users to interact as they learn more about where their stance on the issue lies. That's good! Even more, the kit provides the physical means to implement the lessons learned on the site. Even better! In an ideal scenario, readers of Dress Code learn to first, take pride in the fact that they will waste less, and second, perhaps even look forward to the rewarding process of fixing their own clothing.

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USER RESPONSE

" n ot h i n g i s coo l er t h a n s u s ta i n a b i l i t y. D ress code h e l p s yo u m a ke co n sc i o u s c h o i ces . t h e t i m e for dress code i s n ow."

ASHLEY CHURCHILL M ACDONALD a s s i s tant c u lt ure e ditor, Stylesight

I can see this site being a hit, and the Dress Code kit being carried in tons of hip retailers (like Opening Ceremony), but maybe even in mass-market places like J. Crew or Anthropologie. Dress Code is linked to a rise in DIY culture (pickle making, beer brewing, backyard chickens, Brooklyn) in the last few years. Why not sewing? It's cheap, makes sense "in this economy," etc. The time for Dress Code is now. Nothing is cooler than sustainability. Dress Code helps you make conscious choices about what you buy, while helping you fix what you already own.

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" th at pag e o f b o iled down s tati s ti cs a nd hi s tory i s wh at peo ple need to see ." C A R O L FA H E Y commercial production c o o r d i n a t o r, b o u t i q u e s h o p p e r

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" O h , t h e fa s h i o n i n d u s t ry i s g o i n g to h at e t h i s! yo u. . . i n s p i re t h e m a sses to re- u se , re- i n v e n t, re pa i r ."

JAN E AGERS senior de signer of women's apparel, Victorinox Fashion

When I first started to go though your thesis, my first thought was: "Oh, the fashion industry is going to hate this!" as you're aiming to inspire the masses to re-invent, re-use and re-pair in lieu of shopping new. You must understand that it is pre-Christmas and I am shopping, bombarded with eyefuls of disposable stuff on the conveyor belt of excessive unnecessary consumption. It's important steer your followers to (when they do buy new) to steer them toward what I call "investment dressing", or investing in key, core pieces that are well made, classic, versatile and able to be kept in a wardrobe for decades if not a life time. [The site] is amazing. The visuals are neat, clean, communicative and interesting.

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" t h i s i n for m at i o n a b o u t h ow a p erso n c a n m a ke i m p rov e m e n t s i s a b so lu t e ly so m e t h i n g i 'm i n t eres t ed i n ."

SARAH HASKELL inte r ior de s igne r, outlet shopper

It's a real-life thing that can actually happen and improve society, and it looks GREAT! Very inviting and clean. This information about how a person can make these improvements is absolutely something I'm interested in and hope I can really take advantage of it. The Quality to Quantity infographic looks great. The "then and now" statistics right next to each other gave the context to understand how shocking the information was. For a few months in college I kept a notebook in my dresser of what I wore each day in an attempt to wear everything I owned and not repeat outfits. It was enlightening and really helped me come up with different outfits each day. Might start doing that again! I usually cannot remember what I wore two days ago unless it is still sitting on my bedroom floor (another problem with having too many clothes is that it is so unappealing to put things back into a jammed closet).

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USER RESPONSE

" n ot o n ly i n s p i r at i o n a l , [dress code] i s a v ery u se f u l reso u rce , s u re to c atc h t h e at t e n t i o n o f m a n y."

M O N I C A K AT ZE N E L L graphic de s igne r, v intage shopper

"This poses a very interesting challenge for today's obsessive clothing consumer. Can we see the impact of our bad habits and rise to the challenge of responsibility? Sustainability has reached most other aspects of living these days, I for one, am ready to take some 'skeletons' out of my closet and replace them with quality goods. Not only inspirational, this is a very useful resource and is sure to catch the attention of many."

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" I ' D B E so P R O U D TO c a l l my se l f a PA R T O F AN O NLIN E CO MMUNITY O F CO N S C I O U S C LOTHING CO N S UM E R S ."

HALEY THOMPSON e ditor, Ebay & Z ara shopp e r

Quality over quantity is an idea that has all but disappeared in the past 30+ years. I was fortunate to have a mother who could sew, and who made a lesson on the difference of fabric texture and quality to my Girl Scout troop. Her prompts were challenges that made me believe I could create the ultimate wardrobe. Then I discovered Delia's, outlets and online shopping. The concept that I could make something, and better, seemed a lost cause. Two decades later, my sewing machine is collecting dust in storage while my closet is overflowing with impulse purchases from years of retail therapy. Like anything worthwhile, the Dress Code lifestyle will take great work and dedication. I love the blog and the monthly challenges. It will absolutely motivate me to do the work, because I will feel that much better looking at my closet at the end of each month. I would be so proud to be part of an online community of conscious clothing consumers. Like shopping at the farmers market, or recycling every last piece of waste possible, I'd love to see my clothing purchases not only as an investment in a great wardrobe, but as part of the future of sustainability from every angle.

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THAN K YOU

THAN K YO U

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" t h ere a re t h i n g do a l o n e , a n d o n ly do w i t h so

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THAN K YOU

g s y o u c a n o n ly so m e y o u c a n so m e b od y e l se ."

HA R U K I MU R A K AMI

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Literary Resources: Overdressed: The Shockingly High Cost of Fashion Elizabeth L. Cline To Die For: Is Fashion Wearing Out the World? Lucy Siegle Fashion & Sustainability: Design for Change Kate Fletcher & Lynda Grose Style, Naturally Summer Rayne Oakes MUJI published by Rizzoli No Logo Naomi Klein Shaping Sustainable Fashion Alison Gwilt & Timo Rissanen

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THAN K YO U

THAN K YOU

Especially: Emily Brock. Joel Hawkins. Emily Shields. Always: Sara Mirsky. Most of all: Mom and Dad. Wonderful, supportive friends: Laura Glascott. Lisa Hennessy. Monica Katzenell. Haley Thompson. Carol Fahey. Craig Massie. Ashley MacDonald. Sarah Haskell. Eric Gosselin. Jessica Gosselin. Kelsey Mezzenga. Brie Hattey. Ellie Macbride. Inspiring classmates: Kelly Wahlstrom (partner in crime). Katie King Rumford. Carey Ordway. Whitney Clark. DD Cheung. Anthony Stimola. The amazing web developer: Eric Marchuk. www.ideasinorbit.com Insightful advisors: Michele Ronsen. Hunter Wimmer. Mandana MacPherson. Phil Hamlett. Jan Eagers. To these, and to the countless others without whom I could not have completed this project: thank you.

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ÂŠ 2012 Dara Weinberg. All rights reser ved.

DRESS CODE Graphic Design MFA Thesis Project Academy of Ar t University San Francisco, CA

For further information: w w w.dresscodeusa.com For more work by Dara Weinberg: w w w.dara-weinberg.com Contact: dara.n.weinberg@gmail.com +1.818.400.6705

Advisors: Mandana MacPherson, Michele Ronsen, Phil Hamlett, Hunter Wimmer Printing: Graphic Imager y Paper: Cougar Opaque Smooth 100lb Text Bindery: The Key Printing & Binding Photography: Dara Weinberg, Creative Commons Typefaces: Brandon Grotesque, Proxima Nova, Georgia Pro