Ashleigh Nortje Dissertation.compressed

VAAL UNIVERSITY OF TECHNOLOGY
FACULTY OF HUMAN SCIENCES
TECHNICAL REPORT – HCBSC4A
AN ANALYSIS OF THE ATTITUDES OF YOUNG DESIGNERS TOWARD
THE TRADITIONAL DESIGN AND PRODUCTION PROCESS IN SOUTH
AFRICA
by
Ashleigh Nortje
212076817
Submitted in partial fulfilment of the requirement for the degree
BTech: Fashion
In the Department of Visual Arts and Design
Degree Supervisors: Ms N. Coetzee
Mrs A. Laba
Subject Advisor: Ms S. Hugo
Subject Advisor: Ms AE Steenkamp
Date: 1 October 2015

DECLARATION
I hereby declare that this assignment is my own independent work and that all sources consulted
and all quotations supplied have been declared in full according to the guidelines concerning
referencing, plagiarism and copyright of the Vaal University of Technology. I declare that this
work is new work and that it has not been previously submitted at the Vaal University of
Technology or any other institution.
Signed
Student number
Date

ACKNOWLEDGEMENTS
I am thankful to God for the blessing, endurance and hard work that were necessary to complete
this dissertation. I thank my family who supported me with encouragement and positivity
during the last four years, without your endless love and motivation I would not be where I am
today. Andre, my fiancé, I love you and I am so glad that you push me to be the best I can be.
I am extremely blessed to have abundant support from family, friends, supervisors and
lecturers. Thank you for keeping me motivated.

i
TABLE OF CONTENTS
CHAPTER 1: INTRODUCTION AND OVERVIEW OF THE STUDY
1.1 INTRODUCTION AND BACKGROUND OF THE STUDY 1
1.2 RATIONALE AND MOTIVATION 1
1.3 RESEARCH AIM AND OBJECTIVES 1
1.3.1 Aim 1
1.3.2 Objectives 1
1.3.2.1 Literature-related objectives 1
1.3.2.2 Empirical-related objectives 2
1.3.2.3 Implication-related objectives 2
1.3.3 Research question 2
1.4 TERMINOLOGY 3
1.4.1 Glossary 3
1.5 OUTLINE OF TECHNICAL REPORT 4
1.6 THEORETICAL FRAMEWORK 5
CHAPTER 2: LITERATURE REVIEW
2.1 YOUNG DESIGNERS 6
2.2 DESIGN AND PRODUCTION PROCESSES 6
2.2.1 DESIGN DEVELOPMENT 6
2.2.1.1 Design Elements and Principles 6
2.2.2 DESIGN PROCESS 8
2.2.3 PRODUCTION PROCESS 8
2.2.2.4 SWOT ANALYSIS 9
2.3 READY-TO-WEAR 10
2.3.1 Collection Concept 10
2.3.1.1 Street Wear 11
2.4 CONCLUSION TO CHAPTER 2 11
CHAPTER 3: METHODOLOGY
3.1 DEFINITIONS AND CHARACTERISTICS OF RESEARCH METHODS 12
3.1.1 Definition of the qualitative research paradigm 12
3.1.2 Definition of the quantitative research paradigm 12

ii
3.1.3 Characteristics of qualitative research 12
3.1.4 Characteristics of quantitative research 13
3.2 DATA COLLECTION 13
3.2.1 Data collection tools for qualitative research 13
3.2.2 Data collection tools for quantitative research 13
3.2.3 Data collection tool utilized in the study 14
3.2.4 Description of development of the questionnaire 14
3.3 SAMPLE 14
3.3.1 Definition of a sample 14
3.3.2 Sample size of this study 14
3.3.3 Sampling technique 15
3.3.4 Description of the sample 15
3.4 PILOT STUDY 15
3.4.1 Definition of a pilot study 15
3.4.2 Purpose of a pilot study 15
3.4.3 Description of the pilot study 15
3.4.4 Report on the pilot study of the research 16
3.4.5 Changes to the questionnaire 16
3.5. VALIDITY AND RELIABILITY 17
3.5.1 Definition of validity 17
3.5.2 Definition of reliability 18
3.5.3 Ways of ensuring validity 18
3.5.4 Ways of ensuring reliability 18
3.5.5 Description of how validity and reliability will be ensured during this 18
research study
3.6 CONCLUSION 18
CHAPTER 4: DATA ANALYSIS AND FINDINGS
4.1 INTRODUCTION 19
4.2 FINDINGS AND DISCUSSIONS 19
4.2.1 Analysis and interpretation of findings 19
4.2.2.1 Section A: Biographical 19
4.2.2.2 Section B: Young Designers 21

iii
4.2.2.3 Section C: Design Development 24
4.2.2.4 Section D: SWOT Analysis 26
4.2.2.5 Section E: The Design and Production Process 28
4.2.2.6 Section F: Collection Concept 35
4.3 CONCLUSION TO THE DATA ANALYSIS AND INTERPRETATION
OF THE FINDINGS 40
4.4 INTRODUCTION TO THE PRACTICAL PROJECTS 41
4.4.1 GARMENT CONSTRUCTION PROJECTS 41
4.4.4.1 Project 1: Bomber jacket and shift dress 41
4.4.4.2 Project 2: Coat and halter neck dress 42
4.4.4.3 Project 3: Jersey dress 44
4.4.4.4 Project 4: Crop top and pencil skirt 45
4.4.4.5 Project 5: Shirtdress 46
4.4.4.6 Project 6: Jersey and pleated skirt 48
4.4.4.7 Project 7: Jersey, dress and pants 49
4.5 INTRODUCTION TO THE CREATIVE PROJECTS 51
4.5.1 PRACTICAL DESCRIPTION – CREATIVE PROJECTS 51
4.5.2 Project 8 – Photoshoot and Lookbook 51
4.5.3 Project 9 – Before and After Photoshop Storyboards 52
4.5.5 Business Branding 52
4.5.5.1 Logo 52
4.5.5.2 Business Card 53
4.5.5.3 Swing Tag 54
4.5.5.4 Facebook Page 54
4.5.5.5 Hello Pretty Online Store 55
4.5.5.6 Poster Presentation 56
4.6 EXHIBITION AND PRESENTATION 56
4.7 CONCLUSION 57
CHAPTER 5: CONCLUSION
5.1 INTRODUCTION 58
5.2 CONCLUSION TO THE STUDY 58
5.3 SIGNIFICANCE OF THE STUDY 58
5.4 LIMITATIONS 58

iv
5.5 RECOMMENDATIONS FOR FURTHER RESEARCH 59
5.6 CONCLUSION 59

v
LIST OF TABLES
TABLE 1 Design elements and principles 7
TABLE 2 Changes to the questionnaire 16
TABLE 3 Biographical factors 20
TABLE 4 Design and production process 29
TABLE 5 Young designers own method for the design and production process 30
TABLE 6 Young designers’ personal opinion toward the design and 31
production process
TABLE 7 Technical Board 1 comments 36
TABLE 14 Technical Board 1 – before and after 42

vi
LIST OF FIGURES
FIGURE 1: Theoretical framework for the study 5
FIGURE 2: Number of years established 21
FIGURE 3: Number of employees 22
FIGURE 4: Working environment 23
FIGURE 5: Areas for design and production 24
FIGURE 6: Design elements 25
FIGURE 7: Design principles 26
FIGURE 8: Strengths 27
FIGURE 9: Weaknesses 28
FIGURE 10: Production considerations 33
FIGURE 11: Fashion seasons 35
FIGURE 12: Bomber jacket and shift dress final ensemble 41
FIGURE 13: Technical Board 1 – before and after 42
FIGURE 14: Coat and halter neck dress final ensemble 43
FIGURE 16: Jersey dress final ensemble 44
FIGURE 19: Shirtdress final ensemble 47
FIGURE 21: Jersey and pleated skirt final ensemble 48
FIGURE 23: Jersey, dress and pants final ensemble 50
FIGURE 25: Ashleigh Eden brand logo 52
FIGURE 26: Business card front 53
FIGURE 27: Business card back 53
FIGURE 28: Swing tag 54
FIGURE 29: Facebook page 55
FIGURE 30: Hello Pretty 56

vii
ANNEXURE A
ANNEXURE A Questionnaire
ANNEXURE B1 Before – Technical Board 1
ANNEXURE C1 After – Technical Board 1

1
CHAPTER 1: INTRODUCTION AND OVERVIEW OF THE STUDY
1.1 INTRODUCTION AND BACKGROUND OF STUDY
A CMT can be defined as cut, make and trim. The Introduction to the Alliance Fashion and
Manufacturing Toolkit (2013:1) explains that, “[i]t means that the factory supplies none of the
required fabric or components, but only manufactures the product with the materials supplied”.
The cut, make and trim follows a specific production process, and Burke (2012:140) states that,
“[a]s a designer you will almost certainly be involved in the production process”. It is very
important to follow a specific design and production process in order to create a successful
business in fashion. For the purpose of this study, the researcher will investigate the points of
view of young designer’s towards the different design and production processes.
1.2 RATIONALE AND MOTIVATION
It is necessary to investigate the design and production processes in order to provide an
improved finished product. There is a demand for an improved design and production process,
in order to provide better quality, price and time management. Given the above, the following
question is proposed: What are the attitudes of young designer’s regarding the different design
processes for ready-to-wear, semi-formal female garments in South Africa.
1.3 RESEARCH AIM AND OBJECTIVES
1.3.1 Aim
The main aim of this study is to investigate the attitudes of young designers in terms of the
different design and production processes for ready-to-wear female garments in South Africa
in order to develop a ready-to-wear collection.
1.3.2 Objectives
1.3.2.1 Literature-related objectives
The researcher will consult various literature-related sources regarding the aim of this study.
The literature on the following subjects will be consulted:
• Objective 1 – The literature on the design and production process. To investigate the
advantages and disadvantages of the design and production process so that an improved
ready-to-wear collection can be constructed.

2
• Objective 2 – The literature on what a young designer is so that an understanding can be
made of the process of clothing manufacturing.
• Objective 3 − The literature on what a ready-to-wear collection is so that a collection can
be designed and created.
1.3.2.2 Empirical-related objectives
The researcher will consult various empirical-related sources regarding the aim of this study.
The empirical research phase of this study will be performed in order to:
• Objective 4 – Establish what different young designer’s design and what their production
processes are in order to have an idea of what processes are followed in practice.
• Objective 5 – Find out what design elements are mostly used by young designer’s in the
development process.
• Objective 6 – Establish what design and production process steps are mostly employed in
practice.
• Objective 7 – Establish how the design and production process can be manipulated for the
most effective results.
• Objective 8 – Establish a ranking of importance in elements of the SWOT (strengths,
weaknesses, opportunities and threats) analysis.
1.3.2.3 Implication-related objectives
The researcher will consult various implication-related sources regarding the aim of this study.
The practice phase of this study will be conducted in order to:
• Objective 9 - Design and construct a ready-to-wear collection based on the attitudes and
inputs of young designers regarding the design process.
1.3.3 Research question
The researcher will conduct this study in order to answer the research question. The specific
qualitative question is: What are the attitudes of young designers toward the different design
and production processes?
1.4 TERMINOLOGY
1.4.1 Glossary

3
For the purpose of this study on the design and production processes and the attitudes of the
cut, make and trim towards them, the following terms will be used throughout the course of
the study. The definitions provided by the researcher, will apply for the following terms.
• YOUNG DESIGNER: Burke (2012:14) defines a fashion designer as a creative and
technical professional who designs clothing within a specific theme for a specific purpose
and a specific market. From Burke’s definition, it can also be assumed that a young designer
is a creator who has newly entered into the world of fashion design. For the purpose of this
study, a group of young designer’s was selected as the sample.
• DESIGN PROCESS: Burke (2012:16) explains, “[t]he fashion design process subdivides
fashion design into a linear sequence of interrelated activities.” Burke (2012:16) also stated
that each activity is performed, so to produce garments in the process.
• PRODUCTION PROCESS: Burke (2010:110) defines the production process as a logical
process consisting of eight steps. Burke (2010:110) further added that, “[d]eveloping the
steps progressively will enable you to manage the process and trade-offs between each
area.”
• READY-TO-WEAR: Burke (2012:81) defines ready-to-wear as Prêt-à-Porter and states
“[t]his level of design is more affordable for a wider market, and for those who desire a
high standard of fashion, style, originality and quality.”
• PRODUCTION: As defined by Burns, Mullet and Bryant (2011:412), “[p]roduction is the
construction process by which the cut fabric pieces, findings and trims are incorporated
into finished apparel, accessory or home fashions product.”
• STREETWEAR: Rajendran (2012:1) states, “[s]treetwear is generally considered a highly
individualised style of fashion.
• LOOKBOOK: OED (2015.lookbook) defines a lookbook as “[a] set of photographs
displaying a fashion designer’s new collection, assembled for marketing purposes.”
1.5 OUTLINE OF TECHNICAL REPORT
The following chapters will be included in this technical report:
Chapter 1
This chapter is the introductory chapter of the technical report. The following aspects are
discussed, namely aims and objectives, research question, specific terminology and the
theoretical framework.

4
Chapter 2
This chapter will discuss the theoretical framework of the study in depth.
Chapter 3
This chapter will discuss the research methodology elements of the study, including the pilot
study and the analysis of the pilot study.
Chapter 4
This chapter will analyse and interpret the findings of the collected data.
Chapter 5
This chapter will conclude the study.

5
1.6 THEORETICAL FRAMEWORK
Figure 1: Theoretical framework for the study
The attitudes of young designers regarding the
different design and production processes in South
Africa
2.2 Design and
production processes
2.2.2 Design
processes
2.2.3
Production
processes
2.3 Ready-to-wear:
(DDD)
2.3.1 Collection
concept
2.3.1.1 Street
wear
2.1 Young designers
2.2.2.4
SWOT
analysis
2.2.1.1.1
Strengths
2.2.1.1.2
Weaknesses
2.2.1.1.2.1
Threats
2.2.1.1.1.1
Opportunities
2.2.1
Design
development
2.2.1.1
Design
elements and
principles

6
CHAPTER 2: LITERATURE REVIEW
2. INTRODUCTION
2.1 YOUNG DESIGNERS
Burke (2012:14) defines a fashion designer as a creative and technical professional who
designs clothing within a specific theme for a specific purpose and a specific market. From
Burke’s definition, it can also be assumed that a young designer is a creator who has newly
entered into the world of fashion design. For the purpose of this study, a group of young
designers was selected as the sample.
2.2 DESIGN AND PRODUCTION PROCESSES
Burke (2010:108) indicated that, as a fashion entrepreneur, the design and production process
is an essential part of any business.
2.2.1 DESIGN DEVELOPMENT
As explained by Burke (2012:88), design development consists of analysing the important
market and trend research, and utilising it with the necessary creativity and innovation to
generate profitable designs. The structure of design development is an integral part of creating
a unique garment. Burke (2012:88) also stated, “[t]here are certain guidelines that all
professional designers use whether consciously or sub-consciously, and these are known as
design elements and design principles.”
Design elements and principles are amongst the most valuable tools that are utilised by young
designers to create an exceptional garment. When entering a higher education institution, these
simple rules are the first lessons imparted to aspiring fashion designers. By researching the
important instruments in this study, the student will establish exactly what elements and
principles are most significant in the young designers’ development process.
2.2.1.1 Design elements and principles
The design elements and principles include various components. Burke (2012:91) lists the
design elements and principles as follows:

7
Table 1: Design elements and principles
Design Elements Design Principles
Silhouette Proportion
Line Rhythm
Color Graduation
Texture Harmony
Balance
Emphasis
Contrast
Unity
The above-mentioned design elements and principles were interpreted according to the basic
design details of the sample of young designers clothing styles and the elements and principles
below were selected and discussed as described by Burke (2012:91-92):
• Silhouette - Silhouette is the “the overall outline of the garment”. A person can assume
that the outline of the garment is certainly the most visually obvious element of the garment.
A silhouette creates an initial impression before any of the other three elements are
detected.
• Line - The line of a garment relates to its cut and style lines, its construction”. It can be
understood from the statement that the lines of a garment create a certain shape, and can
give the body various appearances. Each line on a garment changes the perspective of
which an individual perceives the person wearing the garment.
• Color - “After silhouette, color creates the most visual impact when seen from a distance,”
describes Burke (2012:90). The color is what attracts a customer to a specific garment, no
matter the silhouette, line or texture. A person reacts to color in a particular way because
of it presenting various moods and feelings.
• Texture - When designing a garment, the fabric is not the initial thought, but gains
importance when having to create an overall style and finished look. The texture also
determines the way a garment will look on the body and if it creates a desirable look or not.
• Unity – Unity is established when all the elements of a garment work together cohesively.
Unity is also created when different items of clothing are put together to create a completed
look.

8
• Contrast - Contrast connects with color, texture or shape and draws attention to a specific
design detail.
• Emphasis – Emphasis is that which is eye catching. It is a highlighted feature on a garment,
and can be anything from the silhouette to details on clothing pieces.
• Balance – Balance is when the details of a garment are distributed in a way that they work
well together. The details do not overpower each other, and if they do – it is aesthetically
pleasing.
2.2.2 DESIGN PROCESS
Burke (2012:16) explains, “[t]he fashion design process subdivides fashion design into a linear
sequence of interrelated activities” and continues by stating that, “[e]ach activity is performed
to produce a specific result or deliverable in the process.” By understanding these descriptions
of the design process, the designer would understand that this process is the first step in creating
a garment. This is also the most creative and exciting portion of the beginning of a lengthy
process in creating a masterpiece.
This study will determine whether specific steps in the design process are utilised by young
designers and in what sequence they are performed. It is important to determine these points
and their importance, so that a comprehension can be made of different processes, and an
improved process be developed.
2.2.3 PRODUCTION PROCESS
Burke (2010:110) defines the production process as “[a] logical sequence of eight inter-related
steps.” These steps include:
• Design and production brief
• Research and sourcing
• Design development
• Prototypes, samples and construction
• The final collection
• Promotion – marketing, branding and sales
• Production
• The business.

9
Burke (2010:110) further adds that, “[d]eveloping the steps progressively will enable you to
manage the process and trade-offs between each area.” This process defines each individual
step that it takes to design, manufacture and sell your products.
With the designing of new garment collections, the process is repeated many times in order to
perfect the recipe for success. With every collection that is designed and created, a better
understanding and operating of the production process is appointed.
This study will verify whether each of these steps in the production process are utilised and in
what specific order. When discovering possible flaws in the process, a better process can be
developed.
2.2.2.4 SWOT ANALYSIS
According to Burke (2010:48), the SWOT analysis will enable the designer to cultivate
strengths with business opportunities, while limiting the impact of the designer’s weaknesses
and threats. The SWOT analysis is essential in this study to determine whether young designers
are experiencing strengths with corresponding opportunities and weaknesses that might turn
into threats in their business. In the next section, the SWOT analysis relating to this study will
be discussed.
• Strengths
Strength is a characteristic that will assist a business in achieving set objectives. With regard
to this study, strength will determine whether the young designers’ businesses possess
competitive advantage. As Burke (2010:48-49) discussed, the following strengths were
selected to be investigated:
– Trend awareness
– Expert pattern-making and sewing skills
– Distribution of the latest trends
– Visual merchandising skills
– Quality garments.
• Opportunities

10
Opportunities are future possibilities relating to the young designer’s strengths in their
business. It can be assumed that if the young designer’s experience certain strengths in their
businesses, which inevitably translate into future opportunities.
• Weaknesses
A weakness is a characteristic that will limit a business in achieving objectives. This study will
determine whether the young designer’s experience certain weaknesses and whether they have
plans to turn them into strengths. As Burke (2010:48-49) discussed, the following weaknesses
were selected to be investigated:
– Lack of finance or cash flow
– Lack of equipment and systems
– Lack of experience
– Lack of employees
– Time management.
• Threats
Threats are circumstances caused by the young designer’s weaknesses in their businesses. It
can be assumed that if the young designer’s experience certain weaknesses in their businesses;
they inevitably translate into future threats.
2.3 READY-TO-WEAR
Burke (2012:81) defines ready-to-wear as Prêt-à-Porter and states that “[t]his level of design
is more affordable for a wider market, and for those who desire a high standard of fashion,
style, originality and quality.” Renfrew (2009:84) adds, “[r]eady-to-wear covers any collection
that consists of garments produced in volume – distinct from the one-off garments in haute
couture”. According to Renfrew (2009:84), “[a] RTW collection is created for a wider
customer base and will be produced in standardised sizes”.
2.3.1 Collection concept
A design process will be followed in order to create a collection concept. According to OED
(2015) the definition of a concept is a process followed in order to form a creative idea. For
this study, a qualitative data collection with accompanying technical boards that serve as data
collection tools will assist in the final designing on the ready-to-wear streetwear collection.

11
2.3.1.1 Street wear
Rajendran (2012:1) states, “[s]treetwear is generally considered a highly individualised style
of fashion.” Streetwear is the most prevalent style of clothing worn by most of the world’s
population, as it is worn most days during the week. It is easily the most affordable and stylish
of all of the various fashion markets. It is evident in South Africa, by looking at all the most
popular chain stores, that streetwear is the chosen style of clothing.
2.4 CONCLUSION
Chapter 2 outlined the integral stages as part of the theoretical framework that will be
investigated in this study. These include the design and production process, design elements
and principles, and the SWOT analysis.

12
CHAPTER 3: METHODOLOGY
This chapter includes the research methods and procedures that were used in relation to the
objectives of the study.
3.1 DEFINITIONS AND CHARACTERISTICS OF RESEARCH METHODS
The following aspects, related to the chosen research methods, will be discussed in this section.
3.1.1 Definition of the qualitative research paradigm
Qualitative data, as defined by Miles, Huberman and Saldana (2014:4), is a source of well
grounded, rich descriptions and explanations of human processes. With qualitative data, one
can preserve chronological flow, see which events led to which consequences, and derive
fruitful explanations.
3.1.2 Definition of the quantitative research paradigm
Quantitative data is defined by Denscombe (2003:236) as the use of numbers, and can be used
to present findings in the form of graphs and tables; it conveys a sense of solid, objective
research. Denscombe (2003:236) also added that the use of quantitative data in social research
has its attractions. For one thing, it carries with it an aura of scientific respectability.
3.1.3 Characteristics of qualitative research
In this section, the characteristics of qualitative research are listed (Denscombe 2003:267-275):
• A concern with meanings and the way people understand things
• A concern with patterns of behavior
• Data only becomes data when used as such
• The researcher’s identity, values and beliefs play a role in the production and analysis of
qualitative data
• Most researchers using qualitative data start their analysis on the basis of a descriptive
account, or narrative, of the situation being investigated
• Qualitative research tends to be associated with researcher involvement
• Qualitative research tends to be associated with an emergent research design.
• Qualitative research tends to be associated with small-scale studies
• Qualitative research tends to be associated with holistic perspective

13
• Qualitative research tends to be associated with description
• Qualitative research tends to be associated with words as the unit of analysis.
3.1.4 Characteristics of quantitative research
In this section, the characteristics of qualitative research are listed (Denscombe 2003:232-236):
• Quantitative research relies on numbers
• Quantitative research tends to be associated with researcher detachment
• Quantitative research tends to be associated with a predetermined research design
• Quantitative research tends to be associated with specific focus
• Quantitative research tends to be associated with large-scale studies
• Quantitative research tends to be associated with analysis
• Quantitative research tends to be associated with numbers as the unit of analysis.
3.2 DATA COLLECTION
For the purpose of this study, a qualitative research investigation will be conducted
3.2.1 Data collection tools for qualitative research
Data collection tools for qualitative research as observations, interviews and focus groups.
Harding (2013:21-23)
3.2.2 Data collection tools for quantitative research
According to Harding (2013:19), the data collection tools for quantitative research are as
follows:
• Postal questionnaires
• Online questionnaires.
3.2.3 Data collection tool utilised in the study
For the purpose of this study, the researcher will be using self-administered questionnaires as
data collection tools in order to gather the research information required. Wolf (2008) defines
a self-administered questionnaire as a type of questionnaire that has been designed specifically
to be completed by a respondent without the intervention of the researcher collecting the data

14
3.2.4 Description of development of the questionnaire
In the early development of this study, the questionnaire was divided into different sections.
The questions in each section are based on the following:
• Section A – Biographical details
• Section B – CMTs
• Section C – Design and production processes
• Section D – The magic box
• Section E – Collection concept
Through more research, the sections were adjusted to the following:
• Section B – Young designer’s
• Section C – Design development
• Section D – SWOT analysis
• Section E – The design and production process
• Section F – Collection concept
3.3 SAMPLE
3.3.1 Definition of a sample
“A sample, by contrast, is a subset of the population: 100 randomly selected people who live
in the US, every 100th
student at State University, 100 tosses of a pair of dice, and so on.”
McBurney, White (2007:374). The sample used in this study is representative of the South
African young designer.
3.3.2 Sample size of this study
The selected sample size for this study will be a group of a maximum of 10 young designers.
3.3.3 Sampling technique
For the purpose of this study, the purposive sampling method will be used. Harding (2013:17)
states the following on purposive sampling: “The researcher is quite deliberately subjective,
choosing those respondents who will best fit the purpose of the research.” McBurney et al.
(2007:247) also provided a fitting definition: “A purposive sample is selected non-randomly
but for some particular reason.”

15
3.3.4 Description of the sample
• The sample participant for this study has to be a fashion designer.
• The young designer sample may not have more than 10 employees.
• The sample must be an upcoming business.
• The sample participant has to have a production line.
• The sample has to be producing garments for a clothing shop.
3.4 PILOT STUDY
3.4.1 Definition of a pilot study
Calitz (2009:256) defines a pilot study as a mini-version of a full-scale study or trial run done
in preparation of the complete study. It can also be a specific pre-testing of research
instruments, including a questionnaire.
3.4.2 Purpose of a pilot study
The purpose of conducting a pilot study is to ensure that the questionnaires to be administered
during the main study are suitable for the purpose they were designed, and to correct any
problems before administering them to the participants. A pilot study also enables the research
to administer changes to the questionnaires such as closed questions to open questions, as well
as providing the opportunity to test the data analysis to ensure the research questions are being
answered (Burgess, 2001:15)
3.4.3 Description of the pilot study
For the purpose of this study, two different pilot studies were administered. The reason is that
the researcher altered the data collection tool from a questionnaire to an online survey. The
first pilot study took place at Vaal University of Technology, with the sample being three B-
Tech fashion design students. The students were chose because for the sample of the pilot study
because they display similar characteristics to the intended sample of this study. The first pilot
study was completed in order to ensure content validity. It was decided that to ensure reliability
of the study, an online survey is to be sent out instead of a posted questionnaire.

16
The second pilot study also took place at Vaal University of Technology, with the sample being
the same as the first. The reason for the second pilot study is to ensure reliability of the data
collection tool, which is the online survey instead of a questionnaire.
3.4.4 Report on the pilot study of the research
A pilot study was conducted to improve the success of the investigation. The pilot study was
done on a group of three B-Tech fashion design students at Vaal University of Technology.
In the next section, the changes to the questionnaire, after the pilot study was administered,
changed to an online survey will be discussed.
3.4.5 Changes to the questionnaire
The changes made to the questionnaire, and the reasons for the changes, are set out in Table 2.
Table 2: Changes to the questionnaire
Original
question
number
Original question New
question
number
Improved
question
Reason
Section A,
Question 7.
What area in
Gauteng do you
currently reside at?
Section A,
Question 7
What area in
Cape Town do
you currently
reside at?
The fashion design hub
of South Africa is
mainly is Cape Town;
it was decided to
change the sample area
from Gauteng to Cape
Town.
Section B,
Question 8.
Are you currently
registered as a
CMT?
Section B,
Question 8
Do you
currently have
an established
fashion
business?
The sample may not
have a registered
business, but rather an
established business.
Also, the sample was
improved from a CMT
to a young designer.
Section C,
Question 13
What is your attitude
or feeling toward the
design and
production process?
Section E,
Question
13.3
What is your
personal
opinion toward
the traditional
design and
production
process?
The sample of the pilot
study did not
understand the
question. A better
word for “attitude”
was selected in order
to obtain a reliable
answer.
Section D,
Question 18
Please indicate the
fashion season of the
year that your
Section F,
Question 20
Please indicate
the fashion
season of the
year that your
The question stayed
the same, but the
option of “Throughout
the year” was added

17
Original
question
number
Original question New
question
number
Improved
question
Reason
business is most
successful in?
business is most
successful in?
for businesses that do
not experience success
in a specific season
Section D,
Question 15
How would you rate
the following
examples of
STRENGTHS as it
applies to your
current business
situation from 1 to
5? The rating scale
is as follows:
5 – Very Relevant
3 - Moderately
Relevant
1 – Not Relevant
Section D,
Question 15
Rate the
following
examples of
STRENGTHS
as it applies to
your current
business
situation from 1
to 5. The rating
scale is as
follows:
5- Highest
significance
3 - Moderate
significance
1 - Lowest
significance
The respondents didn’t
understand the rating
scale.
Section D,
Question 16
How would you rate
the following
examples of
WEAKNESSES as
it applies to your
current business
situation from 1 to
5? The rating scale
is as follows:
5 – Very Relevant
3 - Moderately
Relevant
1 – Not Relevant
Section D,
Question 16
Rate the
following
examples of
WEAKNESSES
that create the
most challenges
in your
business. The
rating scale is as
follows:
5- Highest
significance
3 - Moderate
significance
1 - Lowest
significance
The respondents didn’t
understand the context
of the question, as well
as the rating scale.
3.5. VALIDITY AND RELIABILITY
3.5.1 Definition of validity
Long and Johnson (2000:31) define validity as, “[t]he determination of whether a measurement
instrument actually measures what it is purported to measure”. Weiner (2007:7) also provides

18
a definition for validity as, “[t]he degree to which any measurement approach or instrument
succeeds in describing or quantifying what it is designed to measure”.
3.5.2 Definition of reliability
Long and Johnson (2000:30) define reliability as, “[t]he concept of consistency and constancy
of a measuring instrument”. Long et al. (2000:30) also adds, “[t]he degree of consistency or
dependability with which an instrument measures the attribute it is designed to measure”.
Weiner (2007:6) also provides a definition for reliability as, “[t]he degree to which a
measurement technique can be depended upon to secure consistent results upon repeated
application”.
3.5.3 Ways of ensuring validity
• Randomisation in the study
• By using the correct sample size for the study
• By ensuring there is not any bias in the study.
3.5.4 Ways of ensuring reliability
• By doing the questionnaire in an appropriate environment with all the participants
• Obtain information directly from the selected participants and no other sources
• Ensure that the correct questions are asked.
3.5.5 Description of how validity and reliability will be ensured during this research study
• By doing two different pilot studies
• By using the correct sample size for the study
• By ensuring there is not any bias in the study
• By doing the questionnaire in an appropriate environment with all the participants
• Obtain information directly from the selected participants and no other sources
• Ensure that the correct questions are asked.
3.6 CONCLUSION
This chapter discussed the methods that will be used during the data collection process, the
sample of the study and the pilot study. Chapter 4 will discuss the data collection and analysis
thereof.

19
CHAPTER 4: DATA ANALYSIS AND FINDINGS
4.1 INTRODUCTION
The first part of this chapter presents the data analysis and interpretation. Seven young
designers participated in this study in Cape Town. The online questionnaire was completed in
August 2015. The data for the survey were analysed using tables, pie charts and bar graphs.
The purpose of this study was to investigate the attitudes of young designers regarding the
different design and production processes.
The researcher collected data, based specifically on the design and production process, from
the respondents using an online survey, which consisted of six sections:
• Section B – Young designer’s
• Section C – Design development
• Section D – SWOT analysis
• Section E – The design and production process
• Section F – Collection concept
4.2 FINDINGS AND DISCUSSIONS
4.2.1 Analysis and interpretation of findings
This section of the chapter presents the analysed findings of the study.
4.2.2.1 Section A: Biographical details
Section A of the questionnaire was based on each participant’s gender, age, race, relationship
status, highest academic qualification, income per annum and area of residence in the Western
Cape. This is significant in determining the generalised profile of South Africa’s young
designers in the Western Cape.

20
Table 3: Biographical details
Table 3 depicts the biographical data of young South African designers in Western Cape, South
Africa who participated in this study. Below is a detailed description of the biographical
information based on the following categories:
• Gender – 86 percent of the participants were female and only 14 percent male.
• Age – 43 percent of the participants were between the ages of 25 and 30 years. Another 43
percent of the participants were 30 years and older. The last participant indicated being
between the ages of 21 and 25.
• Race – 86 percent of the participants indicated being Caucasian and only one participant
indicated being of mixed race.
• Relationship status – 43 percent of the participants indicated not being in a relationship.
The other 57 percent equally indicated being in a relationship and/or engaged.
• Highest level of academic qualification – The majority of the respondents, 86 percent,
have a National Diploma, and the remaining 14 percent have a B-Tech degree.
Respondent
number
Gender Age Race
Relationship
status
Qualification
Income per
annum
Area in
Western
Cape
1 Female 30- Caucasian Single National
Diploma
R30 000 –
R40 000
Edgemead
2 Male 25-30 Caucasian Engaged B-Tech
Degree
R50 000 or
more
Higgovale
3 Female 25-30 Caucasian Single National
Diploma
R10 000 –
R20 000
Pinelands
4 Female 30- Caucasian In a
relationship
National
Diploma
R10 000 –
R20 000
Bergvliet
5 Female 25-30 Mixed
race
Engaged B-Tech
Degree
R5 000 –
R10 000
Woodstock
6 Female 30- Caucasian In a
relationship
National
Diploma
R50 000 or
more
Hermanus
7 Female 21-25 Caucasian Single National
Diploma
R50 000 or
more
Royal Ascot,
Milnerton

21
• Income per annum – 43 percent of the participants indicated having an income in excess
of R50 000 (South African Rand). The minority of the respondents indicated having an
income of R5 000 to R10 000.
• Area in Western Cape – The majority of the respondents indicated residing in various
areas in the Cape Town vicinity. These areas are all varied from each other.
4.2.2.2 Section B: Young designers
This section of the questionnaire consists of all the particulars concerning young designers and
the everyday management of their business.
• In Question eight of the survey the respondents were asked whether they have an
established fashion business at present.
All of the respondents indicated that they currently have an established fashion business. This
is an integral part of this study, as the requirement for the sample for this study was for a young
designer with an established business.
• In Question nine of the survey the young designers were asked what time period their
business had been established.
Figure 2: Number of years established
With reference to Figure 2, it can be understood that:
0
1
2
3
4
5
6
7
Less than a year 1 to 2 years 2 to 3 years 3 to 5 years 5 years or more
Respondents
Number of years

22
• 57 percent of the respondents indicated that they have had their established business for
five years or more.
• The other 43 percent indicated that their business has been up and running for two to three
years.
This finding indicates that the majority of the respondents have acquired many years of
experience with regard to running a fashion business. The opposing finding indicates that the
majority of existing young designers only consider their business as established after more than
two years of being active.
• In Question ten of the survey, the respondents were requested to specify the amount of
employees that they have working for them presently.
Figure 3: Working environment
In Figure 3, it can be seen that:
• The majority of the respondents indicated having zero employees. It is clear that more than
42 percent of young designers are capable of managing an established fashion business on
their own.
• 58 percent of the other respondents selected a variety of answers, anywhere from one to
ten or more employees.
0
1
2
3
4
5
6
At home A studio office A factory/warehouse
Respondents
Working environment

23
These findings indicate that the bulk of young designers vary in the amount of employees they
have assisting them in running their business.
• In Question 11 of the survey, the young designers were asked to provide a look into what
their current working environment is.
Figure 4: Working environment
Figure 4 provides the following information:
• 57 percent of the respondents selected having a studio office
• 29 percent of the respondents selected having a factory/warehouse
• The minority, 14 percent, selected that they work at home.
A studio office is clearly the most popular option to manage an established business from, as
seen in Figure 3. This could indicate that newly established businesses are not developed
enough to run their business from a factory or warehouse. Interestingly enough, the minority
of the young designers selected that they work at home. This is interesting because it could
indicate that young designers are at a point where they need a larger area than their home to
run their business.
0
1
2
3
4
5
6
Pattern making
area
Sewing area Fitting area Office area All of the above
Respondents
Areas

24
• In Question 12 of the survey the respondents were asked to select whether they have a
pattern making, sewing, fitting room or office space to contribute to creating their
ensembles.
Figure 5: Areas for design and production
The findings in Figure 5 are as follows:
• The majority, 71 percent, of the respondents have all the important areas when it comes to
managing a fashion business
• The other 29 percent of the respondents indicated having mostly only two of the areas
This finding in Figure 5 proves that these sections, which include a pattern-making, sewing,
fitting and office area, are an integral part in most businesses. This demonstrates that an
established fashion business requires these important elements in managing it successfully.
4.2.2.3 Section C: Design Development
This section of the questionnaire involves the stages that young designers take toward
designing and creating ensembles. These steps include the design elements and principles.
• In Question 13 of the survey, the respondents were asked to rate the design elements in
order of importance when it comes to their design development process according to a
0
1
2
3
4
5
6
Pattern making
area
Sewing area Fitting area Office area All of the above
Respondents
Areas

25
rating scale of most important to least important; one being most important and four being
least important.
Figure 6: Design elements
Figure 6 displayed the following findings in order of most important to least:
• 71 percent selected silhouette as the most significant tool when designing a garment.
• The second most important design element to the young designers is colour, with 57 percent
responses.
• 42 percent of the respondents indicated texture as being the least significant tool when
designing a garment.
• In the minority, two different respondents indicated that line and colour were amongst the
elements that are least important to their business.
When viewing the findings in Figure 5, it is clear that the first look of any garment, regarding
the shape and the colour, is most important in the design development process of young
designers. On the contrary, one can assume that the textile used to construct a garment is the
least significant portion of the garment construction.
• In Question 14 of the survey, the respondents were asked to rate the design principles in
order of importance when it comes to their design development process according to a
rating scale of most important to least important; one being most important and four being
least important.
0
1
2
3
4
Rating scale
Young designers
Silhouette
Line
Color
Texture

26
Figure 7: Design principles
When viewing Figure 7:
• The majority, more than 86 percent of the respondents, indicated that balance was the most
valuable design principle in their designing process.
• All of the respondents nominated unity as the second most valuable design principle in the
designing process.
• On the opposite end, more than half of the respondents considered contrast as the least
significant design principle in their designing process.
From these findings it can be deduced that how garment pieces collaborate, is the most
significant to the young designers.
4.2.2.4 Section D: SWOT analysis
This section of the questionnaire consists of the SWOT analysis regarding the young designers’
business. Questions concerning strengths and weaknesses of the respondents company were
posed. Only these were asked because of strengths providing opportunities and weaknesses
creating threats in the respondents business.
• In Question 15 of the survey the respondents were requested to rate accompanying
examples of STRENGTHS as it applies to their current business situation according to a
0
1
2
3
4
Rating scale
Young designers
Balance
Unity
Contrast
Emphasis

27
rating scale of highest to least significance; five being of highest significance and one being
of lowest significance.
Figure 8: Strengths
With regard to Figure 8:
• The majority of the respondents had an overall positive feeling toward the strengths
concerning their business. All of the young designers felt that their quality garments and
expert pattern-making and sewing skills were of high significance.
• An average of 57 percent of the respondents agreed that their trend awareness is of
moderate significance, implying that they do not focus on the current trends in the fashion
industry, but they focus more on a specific type of client.
These findings would suggest that the respondents view their garments as of excellent quality.
What is interesting in Figure 7 is that none of the respondents felt any of the options were of
low significance regarding their business, signifying that all of them feel very optimistic
towards all the components of their business.
• In Question 16 of the survey, the respondents were requested to rate accompanying
examples of weaknesses, as it applies to their current business situation according to a
rating scale of highest to least significance; five being of highest significance and one being
0
1
2
3
4
5
Rating scale
Young designers
Trend Awareness
Expert pattern making and
sewing skills
Distribution of the latest trends
Visual merchandising skills
Quality garments

28
of lowest significance.
Figure 9: Weaknesses
As previously analysed and discussed in Question 15, it was discovered that all of the young
designers felt very positive toward the strengths of their business. As seen in Figure 9, it is
equally apparent when it comes to their weaknesses.
• The majority of the respondents felt that their business had minimal weaknesses. The most
significant weaknesses were time management and lack of finance or cash flow, with both
options receiving 28 percent of the votes. With regard to these findings, an all-round
conclusion cannot be made because of the options not being a majority answer throughout
the young designers.
• When it comes to weaknesses of lowest significance, 28 percent of the respondents agreed
that lack of skills were of no concern. It is apparent that with all of the respondents having
either a diploma or B-Tech degree, as seen in Table 1, they have no lack in skills with
regard to constructing any type of garment.
• 42 percent of the respondents felt that their lack of experience has a moderate significance
in their business. This suggests that even though their business can run for five years or
longer, they could never have enough experience in the fashion industry.
4.2.2.5 Section E: The design and production process
This section of the questionnaire is the most important stage of this study, as it asks questions
based on young designers and how they view the traditional design and production process.
0
1
2
3
4
5
Rating scale
Young designers
Lack of skills
Lack of finance or cash flow
Lack of experience
Lack of employees
Time management

29
• In Question 17 of the survey, the respondents were asked to select the steps that apply to
their own design and production process in their company.
The majority of the respondents selected that they make use of all eight steps in the design and
production process with the exception of two respondents, both only selecting seven steps in
the process. These findings indicate that although there are different ways of designing and
producing a garment, young designers generally make use of similar steps.
• In the second stage of Question 17, the respondents were asked to indicate the process,
from first to last, that they follow with regard to the steps of the design and production
process they selected in Question 17. Table 4 contains a depiction of the order in which the
young designers apply the steps of the design and production process.
Table 4: Design and production process
DESIGN AND PRODUCTION PROCESS
Respondent number
1 2 3 4 5 6 7
Design development (Working drawings, inspiration and concepts) 1 1 3 2 6 2 3
Design and production brief (Outlines the client, objectives,
target market, price range etc.)
3 2 1 1 5 1
Research and sourcing (Researching the market, trends etc.) 2 3 2 1 2 1 2
Promotion (Marketing, branding and sales) 6 8 6 1 6 7
Production (Includes pre- and post production, distribution etc.) 8 7 5 5 2 4 6
The Business (Sales analysis and results) 7 6 7 7 1 7 8
Prototypes, Samples and Construction (Pattern making, draping
and constructing the initial samples)
4 4 4 3 1 3 4
The final garment/collection (Refining of the final
garment/collection)
5 5 6 4 2 8 5
A new design and production process can be created, when interpreting Table 4. The overall
findings of this question, based on all of the respondents answers, suggest that the design and

30
production process could be improved and shortened into seven steps (according to the findings
in Table 5) as follows:
1. Based on 42 percent of the respondents’ input, they utilise the design and production brief
as the first step.
2. 57 percent of the designers use research and sourcing as the second step.
3. 28 percent felt that the design development could be used as the third step.
4. With regard to the findings, 57 percent of the respondents indicated using prototypes,
samples and construction as step four.
5. With regard to the next step, 42 percent suggested that production and the final
garment/collection be combined as step five.
6. 42 percent of the young designers decided that promotion be applied as step six.
7. 57 percent of the respondents settled on the business being the last step of the design and
production process.
• In the third stage of Question 17, young designers were asked to describe their own method
of designing and producing a garment, if the traditional process did not fully apply to theirs.
Table 5 contains a description of the design and production process, where the young
designers describe their own method in following the design and production process.
Table 5: Young designers own method for the design and production process
Respondent
number
Comments
6
“Thumbnail line drawing, Patternmaking, Choice of suitable fabric,
Assembling, Production, Costing, Selling”
7
“Sometimes some of the "steps" overlap or you have to go back and rethink
certain decisions you made in the product development phase (design, pattern
making and sampling) once you start producing your garments with CMT's.
At this stage I also have to produce my ranges in phases. It is also important
to test new styles out before investing in it as it might not sell as well as you
expected.
The research, sourcing and design development goes hand in hand, because
you design with what you can find to produce your garments within the brief

31
and also budget for example fabric prints and trims influence the direction of
your range a lot.”
As Table 5 suggests that:
• Only respondent 6 and 7 had additional comments in this question because the majority of
the respondents agreed that they make use of the traditional design and production process.
• 28 percent of the respondents felt that the traditional design and production process does
not match up to their design and production perfectly.
The young designers incorporated their own experience and expertise into the input of this
question.
• In fourth stage of Question 17, the respondents were asked to describe their personal
opinion toward the design and production process. All the respondents answered this
question, except for respondent 2.
Table 6: Young designers’ personal opinion toward the design and production process
Respondent
number
Design process Production process
1
“I wish more of my time was spend
focussed on the actual designing
process. It is very limited by the
fabrics we can get in SA and we do
not import.”
“I don't enjoy this process but it's part
of our business”
3
“Influenced by international Trends,
but fun that we can create what our
heart desires."
“Detailed and stressful. Every step
needs to be controlled and
supervised.”
4
"It is all about proportions in design
and the lines."
"Pattern, sample, grading, cutting and
making and distribution."
5
"We thoroughly enjoy working
ahead with samples and trends that
we receive from the internet and see
our clients response on this."
"Firstly, we source fabric, trims and
liaise with our pattern maker in order
to run-up a sample before confirming
fit, colour and size spilt before

32
placing this style in production."
6
"It is very much what I observe
every day whether the find of an idea
is in a magazine or in my
imagination. It is a combination of
what works for me, and hopefully for
the buyer too :)"
“The easiest part for me. Once I have
created what I need in my minds eye
or on paper, the manufacturing is not
as much of a challenge, but good
workmanship combined with a soft
touch…”
7
“The design process is different for
each designer. Some designers are
more methodical and strategic where
as other designers are more about
trial and error. I am personally more
methodical in my design process.
Each designer needs to figure out
what works for them. I think that it
limits some people's creativity to
expect everyone to work within the
same framework. I personally found
that while studying fashion design
that we were taught to over think
themes/trends etc. which often
resulted in designs that were trying
to be too much and were too literal.”
“The production process is a little
less flexible in order to get a quality
product whether or not you have in
house production or have to
outsource to CMT's like I do. The
pattern and sample is crucial. It is
also very important to have the
proper documentation (tech packs
etc.) and know the rating of your
garment in order to get an accurate
costing.”
With regard to Table 6, the majority of the respondents had a very positive outlook on the
design process, and thoroughly enjoyed the designing portion of their business. They feel
optimistic that they are open to create what their hearts desire. Respondent 7 felt that the design
process might bind a designer to a specific framework regarding trends and themes. They also
communicated that while studying, designers are occasionally pushed to think too literally, and
design garments that attempt to be too pleasing.
On the other hand, 42 percent of the young designers felt that the production process was a
very stressful part of their business. They do not necessarily like the production of a garment,

33
but feel it is an integral part of their business. Respondent 7 felt that the production process is
a little less flexible while constructing a garment.
Although there were all-around borderline negative feelings toward the production process,
one of the respondents felt that this part of their business is the easiest part. Once they have
designed a garment that fits their vision, the construction step becomes a little less challenging.
• In Question 18 of the survey, the respondents were asked to rate certain production details,
namely cost, time and quality, according to a rating scale of most to least important; one
being of most importance and three being of least importance.
Figure 10: Production considerations
Respondent 2 was the only participant who did not answer the question, therefore, only 6
respondents’ answers were taken into consideration.
When examining Figure 10:
• 85 percent of the respondents agreed that the quality of a garment is the most important
consideration when constructing a garment.
• 42 percent agreed that the cost of creating a garment is second-most important when
producing a garment.
0
1
2
3
Rating scale
Young designer
Cost
Time
Quality

34
• Lastly, 28 percent of the young designers decided that time was the least important
consideration when constructing a garment.
A conclusion can be made that the considerations of young designers, when designing and
constructing an ensemble, are:
• Quality is most important
• Cost is second most important
• Time is least important
• In Question 19 of the survey, the respondents were asked to indicate which market of
clothing they are most successful in, examples being mass production, ready-to-wear and
haute couture.
All of the respondents indicated that they only trade in ready-to-wear clothing. This could
suggest that the ready-to-wear market is the most successful to do business in.
• In Question 20 of the survey, the respondents were asked to indicate the fashion season of
the year that they experienced most success with in their business.

35
Figure 11: Fashion seasons
As seen in Figure 11:
• The majority of the respondents indicated that their business is most successful throughout
the year.
• The minority of the respondents are thriving during autumn/winter.
The findings suggest that spring/summer is certainly the most popular season of the year
when it comes to ready-to-wear design.
4.2.2.6 Section F: Collection concept
This section entails questions pertaining to the data collection tools that assisted in answering
the questionnaire. The accompanying data collection tool consisted of seven different technical
boards with designs of ready-to-wear garments. The purposes of these technical boards were
to create before-and-after looks (refer to Annexure B1 to Annexure B7 to view the before
technical boards). The purpose of the technical boards was to obtain the young designers’
expert opinion regarding the following elements:
• Style of the garment
• Fabric
• Cost
• Time
• Quality
33%
17%
50%
Spring/Summer
Autumn/Winter
Throughout the year

36
• Additional comments.
The responses of each young designer will assist in improving the ensembles; therefore, the
researcher will create an after technical board, illustrating the improved ensemble.
In this section, only four of the respondents completed the posed questions, therefore, only
these answers were taken into consideration for improvement on each garment. Table 7, 8, 9,
10, 11, 12 and 13 below pose the most significant findings regarding respondent three, five, six
and seven’s inputs on each presented technical board. The researcher took ethical rules into
consideration, and refrained from altering the grammar and spelling of the respondents’
answers in this section
• In questions 21 to 34, the respondents were asked to provide comments for improvement
on the above-mentioned categories with regard to technical board one to seven.
Table 7: Technical Board 1 comments
Respondent
number
Comments
3
• “Jacket Lapel is an outdated shape. My customer would find it too boxy.”
• “lining for dress? I recomend trilobal. perhaps a little more creativity in
the shape and style of these 2 items. seen this kind of thing before? Maybe
add a pretty trim to the dress and reshape the Jacket?”
• “paisly lining might be too expensive and scratchy?”
5
• “jacket has alot of work as well as trims so cost is higher to make (in
wholesale price only)”
7 • “Zips, jacket lining and top stitching will add to the production cost”
The young designers delivered many significant remarks when examining Technical Board 1.
Respondent 3 provided comments that would be the most significant out of all of the garments
on each technical board. When examining the comments of respondent 3, it is apparent that the
entire ensemble needed a little modernisation. The following changes will be considered:
• Bomber jacket style adapted to be more modern
• The shift dress to be given a waistline

37
• The fitted skirt to be a more A-line shape
• A natural lace trimming be added
• Topstitching will not be sewed, as it adds to production time.
Respondent
number
Comments
3
• “we would recomend bon bon instead of scuba because scuba is a very
heavy fabric for a maxi dress”
7
• “Scuba is too heavy for a full length maxi dress in my opinion”
• “Top stitching and panels adds to time”
The young designers recommended that:
• The material of the maxi dress is changed from scuba to bon-bon, as seen in Table 8, and
suggested by both respondent 3 and 7. This is significant, as it will change the comfort and
heaviness of the ensemble.
Respondent
number
Comments
3
• “do you mean a close end zip? zip might be an extra expense? the knit
will be stretchy enough to pull over your head. but love this, hemline
is very trendy.”
7
• “Zips are difficult to put in neatly in light weight knit fabrics. Needs
extra care and reinforcement”
The comments on Technical Board 3 were very positive, as the young designers felt that this
ensemble transitions well into the ready-to-wear market, as it is very trendy. As seen in Table
9, there are minor details to consider:
• The garment might not require a functional zip, as the ensemble has a large enough neckline
to dress overhead. The purpose for the zip on this ensemble is only for decorative purposes.
• The zip needs extra reinforcement, as stated by respondent 7, to provide better quality.
Therefore, a sample zip will be constructed in order to determine the better version.

38
Respondent
number
Comments
3
• “pretty, how are you going to finish off the neckline? if this is white
you might need a lining”
7
• “Think a midi length skirt would be better”
• “Scuba might be too heavy for a maxi skirt. Think midi length will be
better.
• “The fit on the crop top is very important. It can easily look tacky if it
is not the right length or if the fit over the bust is wrong especially in a
fabric like scuba.”
From Table 10, a few recommendations can be considered:
• Respondent 3 questioned whether the scuba crop top might need a lining, as it might be
transparent. With this recommendation, the designer will construct the original ensemble,
and create a sample crop top with the suggested lining in order to determine which option
is better.
• The researcher was advised to assure the fit on the crop-top would be correct. In this case,
the researcher created a sample of the original crop top and determined that the princess
style lines were not suitable for the scuba textile. It was decided that in order for proper fit,
the princess style line needed to be removed and the ensemble constructed exclusive of the
style lines.
• The length of the skirt will be altered from full-length skirt to mid-length, as respondent 7
suggested that scuba might be too heavy for a full-length skirt.
Respondent
number
Comments
7
• “Hemline is too curved.”
• “Make sure linen is pre washed for shrinkage.”

39
When viewing Table 11, the young designers suggested minor changes:
• Respondent 7 remarked that the hemline of the ensemble is too curved. With this comment,
the dress’ hemline will be adjusted to be less curved.
• The researcher noted that all natural textiles needed to be pre-washed in order to prevent
shrinkage after the ensemble has been constructed.
Respondent
number
Comments
3
• “not too sure how you would top stitch the pleats? Jersey could
have a extra something something.”
• “i know that linen is a natural fabric so the pleating might wash
out.”
5
• “Skirt would need to go to pleating house”
• “Costing on pleating is alot as we'd have to outsource this for
production”
7
• “Knife pleating with top stitching will add too much to the cost.”
• “Knife pleating with top stitching will add too much to the time to
produce.”
In Table 12, the following improvements can be made:
• Topstitching will not be sewed, as it adds to production time, and it not being easily
achievable on skirt pleats.
• The skirt textile will be improved by choosing a more suitable version, as the pleats will
wash out on a pure textile.
• The skirt will be outsourced to a company specialising in pleating, as it will add to
production time.
• Respondent 3 suggested the jersey requires a something additional to complete the garment.
The researcher will improve by adding a hood to the jersey.

40
Respondent
number
Comments
3
• “this is so great, love the layering and the turtle neck. this is my
favourite look”
7
• “I am not a fan of the dress with the turtle neck. Pants and top I
like together”
The comments regarding Technical Board 7 were very opposing, as respondent 3 praised the
ensemble, but respondent 7 did not agree with the dress. Table 13 presents the following:
• The garment will not receive many improvements, as there were all-round positive
comments by the majority of the respondents.
• Turtle neck collar adapted to loose infinity scarf
4.3 CONCLUSION TO THE DATA ANALYSIS AND INTERPRETATION OF THE
FINDINGS
This chapter discussed the data analysis and interpretation of the findings with the use of tables,
pie charts and bar graphs. The provided findings determined the young designers profile and
their attitudes toward the different design and production processes.
Chapter 5 will conclude the findings of the study, discuss its possible limitations and the
significance of the study, and provide recommendations for future research.

41
4.4 INTRODUCTION TO THE PRACTICAL PROJECTS
The second section of this chapter discusses the practical body of work, consisting of ten
projects, discussed in terms of improvement recorded during the data collection process. Seven
of the practical garments consist of designer ensembles based on a before-and-after finding
relating to the data collection. The three other practical projects are creative design based. The
seven ensembles are discussed below.
4.4.1 GARMENT CONSTRUCTION PROJECTS
Regarding the aim of each of the seven designed ensembles, all of the below discussed
ensembles serve the same purpose. The aim of the ensembles was to gather information on
whether the respondents utilise the design and production process when creating an ensemble.
Their input was based on their expertise in addition to their personal opinion on improvement
toward the ensemble. Their opinions provided a guide for refining each ensemble, therefore,
attaining a before-and-after result. The researcher discusses these ensembles based on before
the data collection and after findings below in table format:
4.4.4.1 Project 1: Bomber jacket and shift dress
Figure 12: Bomber jacket and shift dress final ensemble

42
Table 14: Technical Board 1 – before and after
Before After
• Loose fitting light pink fur bomber
jacket, with off-white paisley lining
• Body fitting white pure linen shift
dress, with bottom panel in grey pure
linen
• Style of jacket adapted to be more
modern
• Fitted dress adapted to shorter A-line
skirt.
• Addition of a waistline to the dress.
• Addition of style lines to dress top
panel of the dress for fit.
• Cotton lace trim for hem of the skirt.
• Topstitching will not be sewed.
Figure 13 presents Technical Board 1 as discussed in Table 14.
Figure 13: Technical Board 1 – before and after
4.4.4.2 Project 2: Coat and halter neck dress

43
Figure 14: Coat and halter neck dress final ensemble
Before After
• Dark grey scuba stretch halter neck
maxi dress with knee length side slits
• Loose fitting light pink melton coat
with oversized elbow length sleeves,
and off-white paisley lining
• Change of halter neck dress length
from maxi- to knee-length.

44
4.4.4.3 Project 3: Jersey dress
Figure 16: Jersey dress final ensemble

45
Before After
• Drop shoulder light grey jersey dress
with slits at the side seams
• Round hemline
• Ribbed cuff at the sleeves
4.4.4.4 Project 4: Crop top and pencil skirt
Before After
• White scuba crop top with princess
style lines and an open ended zip at
centre front
• Remove style lines from crop top for
better fit
• Remove slits from the skirt

46
• Waistline pencil skirt with slits at side
seams and open ended zip at centre
front
• Changed skirt length from maxi to
midi
4.4.4.5 Project 5: Shirtdress

47
Figure 19: Shirtdress final ensemble
Before After
• White pure linen loose shirtdress with
underarm dart and hidden button
placket.
• Slits at the side seams
• Round hemline
• Change from underarm dart to bust
dart
• Adapt hemline to suit Technical
Board 3 (see Annexure B3)

48
4.4.4.6 Project 6: Jersey and pleated skirt
Figure 21: Jersey and pleated skirt final ensemble

49
Before After
• Loose fitting white and black knit
with ribbing at the collar, sleeves and
hem
• Black pure linen full circle skirt
• Adapt jersey by adding a hoodie
• Change fabric from black pure linen
to black crepe to prevent cost
4.4.4.7 Project 7: Jersey, dress and pants

50
Figure 23: Jersey, dress and pants final ensemble
Before After
• Light loose fitting pink hip length
sleeveless georgette dress with godets
• Turtle neck collar
• Loose light pink knit jersey with odd
length side seams
• Loose fitting grey pure linen pants
• Turtle neck collar adapted to loose
infinity scarf

51
In the previously discussed section, the before-and-after technical boards were discussed
thoroughly. The minor improvements suggested by the young designers were taken into
consideration and applied accordingly.
4.5 INTRODUCTION TO THE CREATIVE PROJECTS
In the following section, the creative projects will be discussed thoroughly. These include the
photo shoot that was done in a studio and the photos being presented in a lookbook (a set of
photographs displaying a fashion designer’s new collection, assembled for marketing
purposes), the before and after storyboards created on Adobe Illustrator and the business
branding that will include a logo, Facebook page, business cards and a Hello Pretty page.
4.5.1 PRACTICAL DESCRIPTION – CREATIVE PROJECTS
4.5.2 Project 8 – Photo-shoot and Lookbook
After the seven garments were completed, a professional photographer did a photo shoot. The
shoot was located in a studio, where the models were wearing the garments and posing in a
forward, backward and sideward angle.
The photos are displayed in a lookbook format.

52
4.5.3 Project 9 – Before and after Adobe Illustrator technical boards
The seven construction projects are illustrated on 14 storyboards. There will be a before and
after storyboard for each garment. The before storyboard consists of the technical boards that
were part of the data collection process, before the young designer’s suggested changes. The
after storyboard consists of the new and improved version of each outfit. Each technical board
and storyboard was created by use of Adobe Illustrator and Photoshop.
4.5.5 Business branding
In this section, the full marketing strategy will be discussed based on this study. The brand
identity for this study is significant because it will contribute to marketing the brand of a young
designer and their business. This project consists of branding and marketing strategies for a
ready-to-wear clothing company that includes the following:
4.5.5.1 Logo
The design of the logo was created with the purpose of suiting the ready-to-wear market in
South Africa. This was achieved by focussing on the colour, representing the element of art, in
each ensemble. The reason for the brand name is based on the observation that many young
designers use their own names to present their clothing line. The font selected for the brand
name provides a sense of femininity that the researcher attempts to achieve with the creation
of the collection. The white font is to represent soft and clean-cut ensembles. The pink leaves
present an element of softness that each ensemble that is part of the collection has. The purpose
for the logo is to create a brand of ready-to-wear clothing to which young females in South
Africa could relate.
Figure 25: Ashleigh Eden brand logo

53
4.5.5.2 Business Card
The business card was created with the logo and brand identity in mind. The business card
features the same design elements as discussed with regard to the logo. The background is an
off-white colour, with the logo on the front. The back of the business card comes together with
the same feminine elements as discussed previously. The variety of fonts used creates softness,
and the use of different colours in text accentuates this. The important contact details for the
young designer related to the brand are also stated on the business card, this includes the cell
phone number, email address, website and location of the business. Another element that the
researcher added was the link to the different social media platforms that the business appears
on, as it forms an integral part of modern-day businesses. Examples of the business card front
and back are presented as follows:
Figure 26: Business card front
Figure 27: Business card back
4.5.5.3 Swing tag

54
For this branding project, the swing tag is designed on a shape similar to the logo, which is
circular. The swing tag consists of the logo, with a hole where the string connects to the
ensemble. The form of branding was selected, as it will market the brand by appearing on each
ensemble.
Figure 28: Swing tag
4.5.5.4 Facebook page
This marketing strategy consists of a Facebook page. It features the brand logo and important
contact information. On this page, images and information of each ensemble are presented.
This form of advertising was chosen as it is one of the largest and most successful social
platforms from which to market a business.

55
Figure 29: Facebook page
4.5.5.5 Hello Pretty online store
For this part of the marketing strategy, a popular online South African handmade clothing store,
Hello Pretty, was selected for the young designer to market and sell their ensembles. This
includes images and prices of each ensemble, with the option to be bought by potential
customers. On this page, important contact information for the brand will be made available
for viewing. This form of marketing was selected because of the exposure in the handmade
clothing industry. It creates the opportunity to venture more into online sales of ensembles. An
example of this store is featured in Figure 34.

56
Figure 30: Hello Pretty
4.5.5.6 Exhibition poster presentation
The poster presentation consists of an A3 poster, which discusses the following aspects of the
study:
• Research methodology
• Short discussion of the accompanying projects
• Analysis of the findings
• Conclusion.
4.6 EXHIBITION AND PRESENTATION
The exhibition layout will be very similar to the look of a traditional production line, This
includes tables with sewing equipment, garment figure dolls and operational tables. Each of
the seven designed and constructed ensembles will be presented on a figure doll with
accompanying accessories. These ensembles consist of ready-to-wear ensembles, ranging from
dresses, jerseys, skirts, and pants. The three creative design projects, consisting of before-and-
after technical boards of each ensemble, a lookbook of photos and information of each
ensemble, a large fashion illustration of the seven completed garments and the brand identity
will also be displayed in fitting positions. The presentation will come together with equipment,
including sewing accessories, sewing equipment, tables and figure dolls.

57
4.7 CONCLUSION
This chapter discussed and interpreted the data collected during this study, in addition to
detailing the garment construction and creative design projects that will be completed by the
researcher.
The concluding chapter of this study, Chapter 5, will discuss the significance of the study,
limitations and recommendations for future research and conclude the study.

58
CHAPTER 5: CONCLUSION TO THE STUDY
5.1 INTRODUCTION
The purpose of this study was to investigate the attitudes of young designers towards the
different design and production processes. The researcher made use of a qualitative research
design method for the collection of data in order to develop a ready-to-wear range for young
females in South Africa.
In this chapter, the researcher outlines the overall findings of the study and recommendations
for future research. Limitations that were experienced during this study will also be discussed.
5.2 CONCLUSION TO THE STUDY
Based on the findings of the research study, the below conclusions can be drawn.
The main objective of this study, as outlined in Chapter 1, was to investigate young designers’
attitudes toward the traditional design and production processes. The researcher has determined
that the young designers experienced a very positive approach toward the design process and
that they appreciated the designing stage in their business. When it came to the production
process, the designers felt that this was a very stressful stage in their business and experienced
no flexibility when constructing their ensembles. Although the majority of designers had a
negative approach toward the production process, they agreed that this was an integral part of
their business.
5.3 SIGNIFICANCE OF THE STUDY
This study is significant as it provides insightful findings regarding the attitudes of young
designers toward the design and production process and, therefore, contributes significantly to
the literature on the field of fashion design in South Africa. The researcher was able to
determine that young designers generally are positive toward making use of the traditional
design and production processes, but feel restricted in the garment production process in terms
of flexibility when constructing their ensembles.
5.4 LIMITATIONS
During the process of the research study, there were limitations that the researcher experienced
that may have restricted the course of the study. The following limitations were experienced:

59
• The researcher originally focused on CMTs during the first chapter, however, after
consultation with a master’s degree graduate in fashion design, Sipho Mbata, it was
discovered that CMTs are challenging to come into contact with. The researcher decided
to focus on young designers specifically.
• The sample area at the beginning of the study was Gauteng, but after further investigation,
it was determined that most young designers mainly trade from Cape Town, as it is
generally known to be the design hub of South Africa. Therefore, the sample area was
altered to Cape Town, Western Cape.
• The selected data collection tool was changed to an online survey, from an administered
questionnaire because of the sample area being altered. This caused the researcher to do
two different pilot studies in order to ensure the reliability and validity of the online survey.
• When the initial data collection process started, the researcher faced many difficulties
because of the young designers refraining from fully completing the online survey. The
researcher, however, was able to receive back seven of the 13 surveys.
Despite these limitations, the results and findings presented important information that could
contribute to future young designers in the South African fashion industry finding means to
improve the design and production process.
5.5 RECOMMENDATIONS FOR FURTHER RESEARCH
Based on the previously mentioned findings and limitations, the following recommendations
can be made for future research:
• More detailed research is recommended into the specific processes that young designers
follow, as the researcher only accessed a small perspective of the sample during this
qualitative study
• Various techniques regarding the design and production process to be explored in terms of
improving flexibility when constructing an ensemble.
• A larger sample size for further research into his field, as it will generate accurate data.
5.6 CONCLUSION
This chapter concludes the research study, describes the limitations and provides
recommendations for future research. The findings obtained during the research revealed that

60
young designers might possess an all-round positive attitude and make daily use of the
traditional design and production process.

REFERENCE LIST
BURGESS, T.F. 2001. A general introduction to the design of questionnaires for survey
research. United Kingdom.
BURKE, S. 2010. Fashion entrepreneur: starting your own fashion business. 3rd ed. China:
Burke Publishing.
BURKE, S. 2012. Fashion designer: concept to collection. 2nd ed. China: Burke Publishing
BURNS, L.D., MULLET, K.K. & BRYANT, N.O. 2011. The business of fashion: designing,
manufacturing and marketing. 4th ed. New York: Fairchild Publications.
CALITZ, M.G. 2009. The pilot study. Pretoria: UNISA. (Thesis – Masters degree).
DENSCOMBE, M. 2003. The Good Research Guide for Small-Scale Social Research
Projects. 2nd
ed. England: Open University Press.
HARDING, J. 2013. Qualitative Data Analysis: From Start To Finish. London: SAGE
Publications.
LONG, T. & JOHNSON, M. 2000. Rigor, Reliability and Validity in Qualitative Research.
Clinical Effectiveness in Nursing, 4:30-37.
MCBURNEY, D.H., WHITE, T.L. 2007. Research Methods. 7th
ed. USA: Vicki Knight.
MILES, M.B., HUBERMAN. A.M., SALDANA, J. 2014. Qualitative Data Analysis: A
Methods Sourcebook. 3rd
ed. London: SAGE Publications.

OED (Oxford English Dictionary). 2015. Lookbook. Oxford: University Press. [Online].
Available at: <http://www.oxforddictionaries.com/definition/english/lookbook>. Accessed
on: 2015/09/30
OED (Oxford English Dictionary). 2015. Questionnaires. Oxford: University Press. [Online].
Available at: <http://www.oxforddictionaries.com/definition/english/questionnaire>.
Accessed on: 2015/04/22
RAJENDRAN, M. 2012. The Development of Streetwear and the Role of New York City,
London and Supreme NY. MTech. Thesis. Ryerson University: Canada.
RENFREW, E. RENFREW, C. 2009. Developing a Collection. 1st
ed. Switzerland: AVA
Publishing.
WEINER, J. 2007. Measurement: Reliability and Validity Measures. [Online]. Available at:
http://ocw.jhsph.edu/courses/hsre/PDFs/HSRE_lect7_weiner.pdf. Accessed: 21/04/2015.
WOLF, J. 2008. Self-Administered Questionnaire. SAGE Research Methods.[Online].
Available at: https://srmo.sagepub.com/view/encyclopedia-of-survey-research-
methods/n522.xml>. Accessed on: 2015/09/30

ANNEXURE A: QUESTIONNAIRE
Young Designers | Design and Production Processes
Q1 Please select your gender
m Male
m Female
Q2 Please select your age group
m 18 to 21 years
m 21 to 25 years
m 25 to 30 years
m 30 years and older
Q3 Please select your race
m White
m Black
m Colored
m Indian
m Asian
m Other
Q4 What is your current relationship status?
m Single
m In a Relationship
m Engaged
m Married
m Divorced
m Widowed

Q5 What is the highest level of qualification/fashion qualification that you have obtained?
m Matric Certificate
m National Diploma
m B-Tech Degree
m M-Tech Degree
m D-Tech Degree
m Self taught
Q6 Please select the level of your income per annum:
m R0 - R5000
m R5000 - R10000
m R10000 - R20000
m R20000 - R30000
m R30000 - R40000
m R40000 - R50000
m R50000 or more
Q7 What area in Cape Town do you currently reside at?
Q8 Do you currently have an established Fashion Business?
m Yes
m No
Q8.1 Please provide your company/label name below:
Q9 Please select the current time period that you have been running your Fashion Business:
m Less than a year
m 1 to 2 years
m 2 to 3 years
m 3 to 5 years
m 5 years or more

Q10 Please indicate how many employees you currently have working for you:
m None
m 1 to 3 employees
m 3 to 5 employees
m 5 to 10 employees
m 10 or more employees
Q11 Please select your current working environment that you are running your Fashion
Business from:
m At home
m A studio office
m A factory/warehouse
Q12 Please select whether you have any of the following allocated area's to assist in running
your Fashion Business
q Pattern making area
q Sewing area
q Fitting area
q Office area
q All of the above
Q13 Please rate the design elements in order of importance when it comes to your design
development process. The rating scale is as follows: 1 - Most Important, 4 - Least important
1 2 3 4
Silhouette m m m m
Line m m m m
Color m m m m
Texture m m m m

Q14 Please rate the design principles in order of importance when it comes to your design
development process. The rating scale is as follows: 1 - Most Important, 4 - Least important
1 2 3 4
Balance m m m m
Unity m m m m
Contrast m m m m
Emphasis m m m m
Q15 Rate the following examples of STRENGTHS as it applies to your current business
situation from 1 to 5. The rating scale is as follows: 5 - Highest significance, 3 - Moderate
significance, 1 - Lowest significance
1 2 3 4 5
Trend awareness m m m m m
Expert pattern making
and sewing skills
m m m m m
Distribution of the
latest trends
m m m m m
Visual merchandising
skills
m m m m m
Quality garments m m m m m

Q16 Rate the following examples of WEAKNESSES that create the most challenges in your
business. The rating scale is as follows: 5 - Highest significance, 3 - Moderate significance, 1
- Lowest significance
1 2 3 4 5
Lack of skills m m m m m
Lack of finance
or cash flow
m m m m m
Lack of
experience
m m m m m
Lack of
employees
m m m m m
Time
management
m m m m m
Q17 Below are the steps of the design and production process in no specific order. Please
indicate which of these steps apply to your business.
q The Design Development: Working drawings, Inspiration and Concepts
q The Design and Production Brief: Outlines the client, Objectives, Target Market and Price
Range
q Research and Sourcing: Researching the Market, Trends
q Promotion: Marketing, Branding and Sales
q Production: Pre and Post Production and Distribution
q The Business: Sales Analysis and Results
q Prototypes and Sample Construction: Pattern Making, Draping and Constructing the Initial
Samples
q The Final Garment: Refining the Final Garment/Collection
Q17.1 In question 13 you selected the steps in the Design and Production Process that apply to
you. Please number the steps you selected in the order which you follow the Design and
Production Process from 1 to 8. The rating scale is as follows: 1 – First, 8 – Last

1 2 3 4 5 6 7 8
The Design
Development:
Working drawings,
Inspiration and
Concepts
m m m m m m m m
The Design and
Production Brief:
Outlines the client,
Objectives, Target
Market and Price
Range
m m m m m m m m
Research and
Sourcing:
Researching the
Market, Trends
m m m m m m m m
Promotion:
Marketing, Branding
and Sales
m m m m m m m m
Production: Pre and
Post Production and
Distribution
m m m m m m m m
The Business: Sales
Analysis and Results
m m m m m m m m
Prototypes and
Sample Construction:
Pattern Making,
Draping and
Constructing the
Initial Samples
m m m m m m m m
The Final Garment:
Refining the Final
Garment/Collection
m m m m m m m m

Q17.2 If question 13 doesn't relate to your specific Design and Production Process, please
describe your process in short, or add any extra steps you find suitable
Q17.3 In short, what is your personal opinion toward the traditional Design and Production
Process?
Design Process:
Production Process:
Q18 When constructing a garment, there are certain production details to consider. Please rate
the following considerations of importance from 1 to 3. The rating scale is as follows: 1 - Most
Important, 3 - Least important
1 2 3
Cost of creating a
garment
m m m
Time used to create a
garment
m m m
Quality of a garment m m m
Q19 Please select the current market of Clothing/ Fashion Design you are working mostly in:
m Haute Couture
m Ready-To-Wear
m Mass Production
Q20 Please indicate the fashion season of the year that your business is most successful in:
m Spring/Summer
m Autumn/Winter
m Throughout the year

Q21 Please refer to Technical Board 1 (ANNEXURE B1)
Q22 In short, please provide comments on whether you think there should be improvement on
Technical Board 1 regarding the following: (If you feel there is no need for improvement,
please indicate with a "X" in the comment box)
Comments
Style of the garment
Fabric
Cost
Time
Quality
Additional comments
Comments
Fabric
Cost
Time
Quality
Additional comments

Comments
Fabric
Cost
Time
Quality
Additional comments
Comments
Fabric
Cost
Time
Quality
Additional comments

Comments
Fabric
Cost
Time
Quality
Additional comments

ANNEXURE B1: Before – Technical Board 1

ANNEXURE C1: After – Technical Board 1

Ms Linda Scott
English language editing
SATI membership number: 1002595
Tel: 083 654 4156
E-mail: lindascott1984@gmail.com
6 October 2015
To whom it may concern
This is to confirm that I, the undersigned, have language edited the dissertation/technical
report of
Ashleigh Nortje
for the degree
BTech: Fashion
An analysis of the attitudes of young designers toward the traditional design and
production process in South Africa
The responsibility of implementing the recommended language changes rests with the author
of the dissertation.
Yours truly,
Linda Scott

Ashleigh Nortje Dissertation.compressed

Recommended

Recommended

More Related Content

Similar to Ashleigh Nortje Dissertation.compressed

Similar to Ashleigh Nortje Dissertation.compressed (20)

Ashleigh Nortje Dissertation.compressed