ED 389 663

AUTHORTITLE

INSTITUTION

SPONS AGENCYPUB DATENOTE

AVAILABLE FROM

PUB TYPE

EDRS PRICEDESCRIPTORS

IDENTIFIERS

ABSTRACT

DOCUMENT RESUME

SO 025 742

Smith, Michelle Knovic; And OthersImage and Identity: Clothing and Adolescence in the1990s.

Smithsonian Institution, Washington, DC. Office ofElementary and Secondary Education.Brother International Corp., Somerset, NJ.90

47p.; Photographs and illustrations may not reproducewell.

Smithsonian Institution, Office of Elementary andSecondary Education, A&I 1163 MRC 402, Washington, DC20277-2915.Guides Classroom Use Instructional Materials (ForLearner) (051) Guides Classroom Use TeachingGuides (For Teacher) (052)

MF01/PCO2 Plus Postage.Aesthetic Values; *Clothing; Cultural Influences;*Design Preferences; *Material Culture; SecondaryEducation; Values-Adolescent Attitudes

This document looks for meanings in the U.S.adolescent's relationship with clothing and fashion. The material isdesigned to be used with senior high school students but may beadapted for older or younger students. The topic is particularlyrelevant to English, sociology, home economics, history, and currentevents classes. In four activities students move from generalobservations about clothing to consideration of their own personalwardrobes, then to focus on school/community styles, and finally tothe global aspects of outside influences on individual choices. Eachof 4 activities contains a brief teachers' background section, a

step-by-step lesson plan, reproducible worksheets, and suggestedassignments. The activities include: (1) "Clothes Talk: Themes Foundin Apparel"; (2) "Clothes Count: Personal Wardrobes"; (3) "ClothesPerception: Identifying Styles"; and (4) "Clothes Appeal: CommercialArbiters of Style." A follow up section offers suggestions forfurther exploration and study of the topic. (mm)

***********************************************************************

Reproductions supplied by EDRS are the best that can be madefrom the original document.

***********************************************************************

7 tcre-

'4".

.CL,OTI4INGN

"PERMISSION TO REPRODUCE THISMATERIAL HAS BEEN GRANTED BY

CN6z(,3

:

Irv;

TO THE EDUCATIONALRESOURCES

INFORMATION CENTER (ERIC)"

U.S. DEPARTMENT OF EDUCATIONOffice OtEducahonsi Research end ImprovementEDUCATIONAL RESOURCES INFORMATION

CENTER IERICI--71....Ms document nee been eproduCed as

rece..ed nom the person or Ordenttabononcimenrog d

r MmOt changes na,,e been made to "Woveredroductton dueldy

Pointe 01 we* or =mons staled in Ind documast do nol neceosanUt reOresent OlivetOERI povtion {Jf 001.(to

BEST COPY AVAILABLE

Amkb.

NIICHELLE KNOVIC sNtrnqfice (,/nemenhay and secondag Education

CLAUDIA BRUSH KIDWELLCurator, Division glCostunw.

National .11useunt qf American Ilistog

TERESA I.. MORA1?(arcli Assistattl

This publication has been made possible by agenerous grant from Brother T .iernational Corporatkm.

SNIVT:FISOINIAN .I.NSTIZUT,110

rA.

Copyright I990',inithsonian InstitutionWashington. D.C.

Net:onci Printing 1993

special thanks to Rachel Anne Kidwell:Mary Brady, Cererna Park High .School.Setvrna Park. .1hiryland: Imn I lollernan:and Maria \Iambic. yfice of Museumprograms. rmilhs(nli(111

Photographs lw Day id (4,1h.tin.T;u, U asbmghm Pt's/. I ci ir.c r ci Congre,,sand National NIuseunt cci Amerk an I hstun

111[NratIcciv. 1)\ ( Brian Karas

)esign byGrafik Cninnumications, Ltd

Introduction 2

Activity 1 Clothes Talk: Themes Found in Apparel 5

Activity 2

Activity 3

Activity 4

Form 1 Clothing Awenvness 9

Clothes Count: Personal Wardrobes 1 1

Foml 2 Clothing Inventor:). 1 3

Form 3 Clothing Profile 15

Clothes Perception: Identifying Styles 19

Form Style /dolly/anion 25

Form qa Optiona/ Section 1 27

Form lb Optional ection 11 29

Clothes Appeal: Commercial Arbiters of Style 31

Following up 37

Form 5 Submission 39

Form 6 Evaluation 41

2

To the chagrin often of both parents and teachers, clothing and personalappearance are subjects that almost never fail to win the attention of

young people. Is clothing in fact a driving force in late-twentieth-centuryYoung America? Or is this a phenomenon limited to the major metropolitanareas that have absorbed the bulk of the consumption ethic? Do predominantclothing styles have regional flavors? Do public and private schools exertwidely variant influences on their students' wardrobe choices? Are mediainfluences the strongest determinants of what people wear today? These aresome of the questions the Smithsonian Institution considered in developingthis clothing research kit.

Image and Identity is the Office of Elementary and Secondary Education's secondkit in a series of education outreach projects sponsored by Brother InternationalCorporation. Somerset, New Jersey. One of the primary goals of these kits is toshow students and their teachers new ways to study culture through its materialevidence: the objects and artifacts of daily life. The kit methods are based onapproaches used by historians and curators at the Smithsonian Institution andother museums around the world. Although they require abstract and analyticalthought, these methods are active and "hands-on.-

Our first project. prepared for the 1989-90 school year. Carbons to ComputemMe Changing American Office, explored technology and cultural values bystudying the common workplace of most American lives. In hnage and Identitywe look for meanings in the American adolescent's relationship with clothingand fashion. Both kits were designed to be useful to teachers of various subjectsin senior high school but may be adapted for older or younger students. Imageand Identity is particularly relevant to English, sociology, home economics,history, and current events classes.

While Image and Identity has much to offer students and teachers, we at theSmithsonian also hope to gain from its use. Young people today are invalu-able reporters and analysts of their own culture, and we want to hear fromthem. We expect to gain a body of firsthand reports on adolescents' cloth-ing in contemporary America. In addition we hope the submissions lead tonew clothing acquisitiom for our collectiontsobjects that will document lifein our own time for LIS and for historians and museum visitors in the future.Mstnictions in the kit explain licAv to submit this information.

IMAGE AND IDENTITY IN BRIEF-

In four activities that comprise this kit students study clothingan aspect oftheir own material culture. They will move from general observations aboutclothing to consideration of their own personal wardrobes, then to focus onschool/community styles, and finally to the global aspects of outside influ-ences on individual choices.

Each activity contains a brief teacher's background section, a step-by-steplesson plan, reproducible worksheets and other handouts, and suggestedwriting or other assignments. Activity 3 contains instructions for submittinginformation to the Smithsonian. The kit's final section offers suggestions forfurther exploration and study of the topic.

1 LIFjela

13A"'3,

;!,:1Are- MM.

1111111. alr'"

,..il 1111:1'

--kk

4e; .'".s,':;',`r,

;

)

os,s'

5

Clothes Talk: Themes Found in Apparel

OBJECTIVE:Begin thinking about the meanings and values ascribed to clothes.

FOCUS:Determining "clothes awareness- by studying pictured clothes cues.

TEACHER'S BACKGROUND:This activity is based on a classic research study of social and psychological meanings ofclothing conducted by a home economist, Dr. Mary Lou Rosencranz, in the early 1960s.

In Dr. Rosencranz's test, seven drawings depicting incongruities between clothing and otheraspects of the characters in the pictures were administered to a selected group. Interviewersasked participants to tell a story about each picture; these stories were tape-recorded for laterreview.

Analysis of the responses showed that clothing cues represented a significant number of thetotal responses. Several clothing themes occurred in the stories of more than half of theinformants.

This study and others done in the same period established the importance of clothing cues inmaking judgments about a person. Contemporary beliefs that a person can -dress for success"and create a physical "image- descend from studies like this one.

.,..' ;:1'," '.""' -

.

S 1,4A., p rl,Ax 3 -il'

6

MATERIALS PROVIDED:Four drawings, scoring form

EQUIPMENT NEEDED:Writing materials, blackboard or flip chart, duplicate copies of drawings

Stop 1 sTell the class that they are going to see a series of pictures and write a 5-minute story abouteach picture. DO NOT MENTION CLOTHING IN YOUR INTRODUCTORY REMARKS. Then.give each student a photocopy of page 8. Allow about .5 minutes for students to write a briefstory about what is going on in each picture, for a total writing time of about 20 minutes.

Stop 2:When they have stopped writing, ask the students to jot down an answer to the followingquestion for each pictureistory they observed:

What part of the picture ?flacte Jim think olyour story?

Stop 3:Tell the students that one purpose of the exercise was to see how important clothing cueswere in their interpretation of a situation. Suggest that this might indicate something about theimportance of clothing in their own lives. Another purpose was to probe the values theyattach to clothing: values that will be examined in the other activities in this kit.

I lave the students form small groups or work individually to analyze what they have written:

a. Use a highlighting pen to mark off the number of lines written about clothing, or underlineor circle the lines.

b. Count the number of characters whose clothing is mentioned in the comments.Maximum score. 12.

c. Count the number of times students answered the question posed in step 2 (what part ofthe picture made you think of your story?) by mentioning some aspect of the way adepicted character was dressed. Maximum score. 4.

U. The pictures show people dressed incongruously for the social situations they seem to bein. Look at the comments about clothing and appearance in the stories and try to identifythe themes expressed. Give each student a photocopy of Form 1 on page 9 or list on theblackboard the themes it identifies in Part 1. Then have each student make a personal-clothing themes" tally by checking the number of themes in their stories.

e. Now obtain a "clothing awareness" score for each student by adding up the responses tothe items discussed in this step Part 2 of Form I provides places to total the following:

number of lines abcalt cl(ithing written

nuniber of characters wluise clothing is nientioned

number of stories based on clothing worn in the pictures

number of clothing themes

10

7

Then, find out the range of clothing awareness scores in the class by asking students whattheir scores were. Using the blackboard, write the highest. lowest, and average scores, soeach student can place his or her own score within the class.

Talk ahout the range of scores in the class and ask if anyone was surprised by his or herscore. Why?

Look at the data in different ways. Compare girls' scores with boys scores: who is moreaware of clothing? See if more comments were written about female characters than aboutmale characters (31',).

The results of this quiz should indicate that clothing -talks--and that many people willmake similar interpretations of clothing cues. What factors might have something to dowith people agreeing (or disagreeing) on the meaning of clothes? Would being older oryounger, or from a different part of the country or part of the work!, have an effect onhow a perscm interpreted the four pictures?

.V.Z./U1

NI1 I I f.

,t11lP

II

'Or/,(4,

--,$*'012-7 111 4111210.°1

t, \

Skt

Ny

1 ,i'ideiOpriiAr......_4, .,

?-.--r

A -- 0 I.o.M. '. r

'I 1 I '....7. .1ZIIIIIP. , .:,

r IV. ; '.l - --) A r' pr ix43 M ' 1 4's -7

,(4iN , ,,,*. _,,

Toth-

,1;k1

0. /*444 I

,

411411116 4

-14

- (..sita4

wit

IS

CLOTHING AWARENESS

Part 1-Clothing Memos

Formal vai. informal(e.g., "too dressed up")

Ago(e.g., "too old/young for attire")

Body six*(any comments)

Status(e.g., clothing indicates low or high class, wealth or poverty,power or its absence)

Sox(appropriateness of clothing to a man or woman)

Cultural(e.g., "dressed like some(me from

Othor(specify)

Thom* totals

Part 2-Clothing Awarsnoss scot.*

Number of lines about clothing written

Number of characters whose clothing is mentioned

Number of stories based on clothing worn in the pictures

Number of clothing themes

Total ClothingAwaronoss seers

Pleturs1 2 3 4

9

e'

.V14,Sd

;.ter

71'

/J- ;

.Nikt.f%+;:e

f:f4A'r...4

.

.-,;

tmlf.

44,-,

-IA. "Pi-"-% ,,-.1fit: ''' ,-. nai. Zat

r. yt,'",.t."-b,6,...,,,,-4.1.1,`"Os .'4, r

..;,:kikoTri.,''Ioditie. far.......:.W:a?.. 4' 2: ''''''...!?4:',S4..

..-...1.fes-,.-7. ,,,. -,..IN, ,-4.4.: .....,1r ef-:;t1.-.

r"...""`",

..1011110"Nr.,

,53r4.2 e

'"" 4,

-ft.-791%0471w.

t'.r , .,,

)' 't ',' '"" '1'' -0 3

C: . ftt 0 ,

....4110a"".......C41

''...11; .,!:

rtv.*;,

Isfgivv, A

40' t

.,.C-n

alig,g tft,

"

`4.A'14,%";,

t ..`1.:).?"-,\,

;,,,L-4s.

El.t.,t,

f14gg''44, '

C.

41-

4,

.!/-Ze?e5sy'-

- tat

.0.I t'_,? 0

10,-

'411r,..:.trAii).?"

11

Clothes Count: Personal Wardrobes

OBJECTIVE:Exploring some of the meanings and motivations of one's own clothing choices lw analyzingand interpreting data.

FOCUS:Listing. rating. and interpreting personal wardrobe chtiices.

TEACHER'S BACKGROUND:Activity I illustrated that clothing pnwokes em()tional respcmses and that many people haveideas alxn.it the Hppnipriateness of what people wear. This activity looks at how collectivelyheld notions of appropriate appearanceby boys and girls about themselves and each other.lw parents about children. by gnmps of friendsinfluence pers(mal clothing choices.

From the perspectives of fashion manufacturers and retailers. style. cut, color, price, and salesfigures are of primary interest. To those who look for personal and social meanings inclothing, however, clothing as people wear it is the engaging subject. Clothing presents thephysical self to the \\odd. Young people attach great importance to clothing partly becauseit tends to say so much about who they are and how they see themselves. At a time in lifewhen figuring out who ...ou are and what kind of adult you want to be are of primary impor-tance. clothing becomes a significant indicator of emerging identity.

\lost adolescents dress to conform to some group, \\ hether it is the dominant group inschool; a small, fringe, or rebellious group: or a group they can't belong to (like famousmusicians) hut can identifY with.

At the same time as group membership is of extreme importance to adolescents so is devel-oping a sensy of self and individuality. Breaking away from sonic parental controls whilehokling on to some of their values is a crucial task. Conflicting needs and interests may makethese individuals' clothing choices confusing or difficult, for both themselves and observers.

Tliis activity helps studcnts gain new perspectives on clothing. Rut a word of caution. The-Persona! Clothing Profile- in this activity, w hile informative, is not scientific. It introduces;deas, pro\ ides insights, and promotes discussion, but it does not create a definitne picture

personalit \ beha\ ior

Further. although studies have slit nyn that Americans of all income levels oflen dress fashion-ably I( ir unlaslutmahly'). some students' clothing choices Ma\ he dictated more by economicnet essitv or deprn Atm than li fashion dictates or group norms. Allow students' -scores- ti)remain pri\ ate (as is suggested in the lesson plan) if the acti\ ity is likely to be sensitive.

12

MATERIALS PROVIDED:Personal Clothing Inventory and Personal Clothing Profile forms

EQUIPMENT NEEDED:Writing materials, duplicate copies of forms

Step 1:Discuss the very personal nature of clothing choices, how one's self-image is both depictedin and derived from one's wardrobe selections. Tell students that one of the most valuabledocuments a historian can work with is a hol:sehold or personal inventory, tied as it must beto the life and circumstances of its owner.

Say that making a personal clothing inventory by surveying one's own wardrobe is anappropriate first step toward understanding clothing in our own lives. Then ask students tocomplete their copies of the Personal Clothing Inventor form, possibly as an oN ernightassignment to allow them time for research and decision making.

Stop 2:Discuss the several aspects of concern reflected in clothing likes and dislikes, e.g.. parentalopinions, self-expression, peer approval. Then ask students to transfer their personal inventoryanswers to the Personal Clothing Profile (Form 3).

Stop 3:Discuss with students the five categories (A through E) presented on the Clothing Profile andexplained in 'Some ways to think about . . ." on the form,

Stop 4:After the students have completed their Personal Clothing Profiles, initiate a discussion.

Does your profile accurately describe you? If not, what do you think are the reasons?Besides the influences of parents and group norms, what else influences how a persondresses?

Could a person he a clothing conformist but a strong individual in other areas of his orher life?

What are some of the advantages of dressing well? of dressing indifferently? What arc someof the disadvantages of dressing well? of dressing indifferently?

Optional activities:Write an essay about what influences your clothing chok es. based on your profile.Illustrate with snapshots or drawings.

Add up individual Personal Clothing Profile totals to make a Class Clothing Profile.Write a news or feature story about the findings.

16

PERSONAL CLOTHING INVENTORY

List 10 of your favorite items of clothing: List 10 of your least favorite itemsof clothing:

LI

L2

L3

P.4

L5

L6

L7

L8

L9

LI 0

F I

F2

F3

F4

F5

F6

F7

FI3

F9

F I 0

Answer the following questions about these items. Write the item numbers (e.g., 1'3, 1,2) onthe line folkiwing the question.

Which items did you get because a 6. \X'hich items are similar to items wornfriend of the same sex liked them? by members of the opposite sex?

2. Which items did you get because afriend of the opposite sex liked theni?

3. Which items did you get because yourpareni( s) liked them?

4. Which items did you get because yourparent(s) dkl not like them?

S. Which items did you get because agroup of friends, clique, club, (w ganghad them?

7. Which items are very differentfrom tin ise worn by members of theopposite sex?

8. Which items are unlike anythingowned or v orn by anycme else youknow?

9. Which items did you get because theywere the "right" brand or label? Thismeans, for example, I,.A. Gear shoesrather than Reeboks, or vice versa.

13

dk, Wo.

vtselfi.

s\

15

PERSONAL CLOTHING PROFILEDiwctions: Take the responses from the Personal Clothing Inventory and till in the blanksbelow. Read carefully so that you enter favorites ( Ft and !east favorites (L) in the correctspaces.

Conforming Nonconforming

q.3

q.4

F I A. Parente I approval/disapproval

L

q.1

q.5

q.9

F L B. Group identity

F

F

q.6

q.7

F L C. Gender identity

L

q.2 F L D. Sexual attraction

q.8 L F E. Individuality

Students' Guide to the Personal Clothing Profile1. Looking at the five categories. whew do inost (more than half ) of \ (Mr ans\\ ers cluster, inthe -conformity- column, on the left or the -nonconlOrmity- column on the right? For thepurposes of this exercise. determine whether you are a clothing conformist. nonconformist, ora mixture.

2. Then compare the live categories (A through F.) to sec which seem to l)e the strongest andweakest influences on your clothing choices. Again look at where most of your answerscluster. If. for example. most of your answers are in the -nonconfi wmity- column fOr A andthe -conformity- column for U. you inay he trying to move :May from parents' influence,mward dressing like yi Rif- friends

rcimiwted (ln

16

Som. ways to think about *ash of tho catogorios:GROUP A looks at your parents influence on your clothing choices. I Iciw old you are.whether you earn your own clothes money. and other factors may influence how many itemsyou placed here.

GROUP 13 has more questions than the other categories because group memberships areextremely important to preteens and teenagers. By being part of a group that is interested inacademics. athletics, or behaving in different ways, young people try out ways of living andthinking that help determine and define the kind of adults they will be.

GROUP C. "gender identity,- looks at whether you dress to strongly differentiate yourselffrom the opposite sex or in a more "unisex" way. Clothing is not by definition masculine orfemininepeople make these decisions and change them all the time.

GROUP I) looks at the age-old question of whether people dress to please themselves or toattract members of the opposite sex.

GROUP E looks at individuality, which may be explained by many different things. If youhave close ties to a cultural group. are an immigrant or visitor from another country. makeyour own clmhes, plan to have a career in the fashion industry, are anisticor many otherreasonsyou might have your favorites in the nonconforming column.

Finally, remember that this test is f(ir fundon't take your totals too seriously! You may seesome patterns in your answers. but this quiz can't tell everything about you and why yolldress the way you do.

5-,v

:cCCIv

1u-r

1

1

Clothes Perception: Identifying Styles

OBJECTIVE:Considering two key questions about clothing and style in the students lives:

What styles are worn in the schc)ol or hy young people their age in the community?What do these styles mean?

FOCUS:Observing. mulling, and interpreting individual styles.

OPTIONAL SECTIONS:Contributing to Smithsonian Institution research.

TEACHER'S BACKGROUND:Solving the puzzles of what clothing, style, and style changes mean is the work of costumeand clothing historians. social psychologists, and cultural commentators, as well as some ofthe thousands of people who work in the clothing and fashion industry. This activity involvesstudents in trying to answer the same questions.

In the preceding activities students have recognized clothing's 1-)oWer to c( nnmunicate mes-sages and considered some of the reasons for their own clothing choices. These insights willinform their efforts in this activity to define and understand the styles thev and other youngpeople wear today.

-

2 0

MATERIALS PROVIDED:Three "correct style- illustrations: Ckithing Style Identification form: opticinal forms

EQUIPMENT NEEDED:Writing materials, overhead projector or duplicate copies of illustrations, copies of forms

Stop 1 :Conduct a class discussion about styles in your school. Say that there is frequently more thanone style of dressing in a school. (If students wear uniforms, talk about whether differentstyles can still be distinguished.)

Point out that people have been concerned about the correctness of their clothing andwhether they are wearing the right styles. or styles in the right ways, for many years. Toillustrate this point, look at the pictures on pages 23 and 24.

"The Right Stuff- appeared in the Washington Post in July 1989. How do the styles depictedcompare with what students themselves wear?

Look at the images that show "correct style- for college-bound boys in the 19.5ns, girls inthe 1920s. flow do these styles compare with what students themselves wear?

H.-.ow accurate are these "style guides- likely to be? Why or why not?

\X'hat are some of the reasons many people care about wearing the "right stuff"?

Stop 2:Ask the class to imagine that they work in a museum 100 rears in the future. Their job is toshow how children and teenagers dressed in the last decade of the twentieth century. Somequestions might help to structure the discussion.

What sources of information would you look at?

\X'hat would having 500 random samples of clothing made during the time period tell you?

Woukl looking at popular films, television programs and advertising help? I low aboutpaintings and statues?

What do you think would give the best information about what teenagers wore?

The Smithsonian Institution thinks that the best information conies directly from the peoplewho wear the clothesin this case, today's young people. The next steps of this activityprmide suggestions for structuring research into adolescents* styles today.

Three -correct style" illustrations: Clothing Style identification Checklist form: optional forms

Stop 3:Working as a class or in groups, try to deckle whether there are distinctly different styles

worn lw young people in your school (or community). Assuming these groups exist, assign a

name to each style or. better. identify what everyone calls each style (e.g., "preppy.- "punk-).

Still working in groups. have the students use a Clothing Style Identification Checklist to

record and structure their observations of each style they have idemified. The checklist has

two optional parts for submitting information to the Smithsonian.

Stop 4 (Optional):Have the class use the photographs they have taken and the information they have gathered

on Form 4 to put together an exhibit about school styles. Or. as in Activity 2. use the informa-

tion to write news or feature stories about school styles.

21

22

Some Questions and Answers about the Smithsonian,curators, acquisitions . . .

Why does the Smithsonian want clothing and what does it want to know about it?

The Division of Costume of the National Museum of American History, SmithsonianInstitution, is continually trying to improve the museum's collection of garments andaccessories worn by civilian Americans from the I7th century to the present time. Thegoal is to acquire a range of clothing that shows what people of all socioeconomic levels.national origins, races, and religions wore in the past or are wearing today.

What does the Smithsonian want to know about an item of clothing?

In a sense, the Smithsonian wants to know everything about garments it accepts ashistoric artifacts. Curators ask questions about clothes that reflect their best guesses aboutwhat kinds of questions people are going to ask in the future. Some often-asked ques-tions: Who made the garment and where? How much did it cost? When was it purchasedor made? Was the garment ever altered?how? Where was the item worn (geographicarea)? What about the person who wore the clothesman, woman, or child; race, reli-gion, and ethnic background, height and weight, dates of birth, marriage, death?

Who are curators and what do they do?

Curators are the people who take care of museum collections. They study and oftenacquire new objects; they interpret and try to explain the meanings and significance ofobjects.

Curators prepare exhibitions, often over a period of several years of studying, collecting,collaborating, and planning with scholars, technical experts, and designers. Curatorsconduct original research that relates to their collections. Image and Identity is an exampleof such a research project.

In another approach, the case study, the Division of Costume is studying individuals andtheir clothing in depth. In addition to facts and figures, curators want to know of specificindividual circumstances that may have influenced individual clothing choices such asmembership in a social group, occupation, or a condition of disability.

Does the Smithsonian put donors' clothing on display in the museum?

When the museum "accessions" an object it enters the study collections where it is used tofulfill the broad educational and scholarly goals of the Smithsonian Institution. These goalsinclude research and exhibition for present and future generations. NO item is acceptedwith the stipulation that it must be exhibited. Donors also can't use acceptance of clothingby the Smithsonian as an endorsement or for advertising purposes.

Does the Smithsonian pay for these acquisitions?

but gifts are tax deductible and a signed copy of a Deed of Gift will be sent to thedonor in a formal letter of acknowledgment.

THE RIGHT STUFF

SUNGLASSES

SWEATSHIRTS:Osersized. with N.college names.pushed upsleeves

PANTS:Stone-washedor acid-washedjeans, cuffs rolledabove the ankle

wigs

BACKPACKS:Denim or leather.carned overone shoulder

BRACELETS:G&S surferbracelets.neon colors

ryn,SHOES:Nike Airsneakers

VESTS:Paisleypatternedor bluedenim

SHIRTS:Matchingvest

HAIRORNAMENTS:Scrunchies(ponytail holderswrapped in cloth)

EARRINGS:Big hoops

PANTS:Plaid "Skidz"with cuffsrolled upabove theankle

SOCKS: ATwo pair-s7'"Vt'410contrastingcolors, bunchedaround the ankle

'

TOTE BAG:Denim. carriedon oneshoulder

SHOES:White Kedssneakers

27 BESTCOnv

2 3

2 4

Page 30 Woman': World

Woman's World Service Page for MothersE-44:47010.,

Whose Daughters Go Away to College

Nags

0

Ward robe Suggest ionsMonth-% obt as

T1. rporret..., .14.reat rano,nnot tt n 4161. t t tn,nu +I ,mrtatlog otrantra.Cln oat. 4 *ann. ikno nut wine

":174"" """Corms. tat ot nnolPeru. 1.....*Priem ler a prod pa bre3.rol Or pro pra era. Inn.. Inman nik

1,i7:17477".7nnnze 71,17 0.1.4.rn.nroin,

2.:: 70 Leann, angrn. K.1 so :A ;:nnInA Sntts. Usnonns sad (son Ar. rmade up rr rraci fr run 41 0. nr.

Vtril41 Ir .1 Provo Psis.* Yrr44 Hanspal p000rlo Ca./NW Pm. tto orb.tdrnpeen Imps.

SIP. IP en4 IIput PI Ito83e Pert.e.e.sepolfeen. 30e.

.t..IV

kk

: \.1 . ' 'N \ \

,

W iflatti-

II-WW111111i0 4'qxtilifiviiiita 0\

frYii vigitelots.1 littitt9 111.111/14.11::+i,;,;

14.9.21.71 Slue &PI60412 on S4p,p4.4.4trout( up S. Iv ensbensd.

0.0hvarn en Pope.I14 mum Ppd. 31-0401 ;Wawa al spot"knot to faros posteftIPIPPsf. Pr. $2.30.No. 0.2143 TompHs& Stamp( n..41roaa Ps. als01.* 4.POMP S1-24.

'Wawa hareemtot 04141.72. 73.74sPI P. /Scow&

Prep Dresse-Pewkse Poeleral043-SIsesUI. 30. $4PA I. Pods l .413 Strinsnalrah Piot* Pn4 aphis Posh. Perforel4p44141, he P.M toast and nals.NV 100.1.0* haw. 5.k. N.. 1-31.7s.

N. 1-21.74. SsassiSessf, 1.0r13 Maws.Sispepal ent8 meeksep pm Pr& Moleso c-inshirs.1454 oppletantMaps OM he ma*wok wpm roler ppnam I few eereespelesp.Pries $3.00.t1o.141.7s. mt....soL Perth I rolePp ant steopeil.refee0.40.

P.21.73. IMIMNMJrIMNNOI. stomplanal pods up to Oe .04.44,4Ps. AppropopmenInsPthss, C1110IP 1 sop. JP ts, ons op imIrd

Dn.0 were, sr pyre 4.1 Pao4s41 i.n 00 Afoot: nsPrs Pore 01 00.

Ptfit PumpsStrap Pumps Ins 3 0InspOstspls .4 flesh 144.41.1.4 Mabry.

Allossoopt es CAuseh DP. Pmts. I'Phrrn 9133PhenS. IS pp( o00 314042 Snood molt owl* AI own,2e4 or 0Ik Opp Sp In Pipe remruft. 12434 in endPe psis Ludt plom *VW non?, 30111 Ih4 (PPP *4 PtIs!intr.-pm (Pp I. Ms pspePny molse. This spy Ps wed JetPthrt 4 pot/ 4 msh 1,4 h.n. orrel aler0p4.

Jumps Ilpst /POPP Pe Spot Weal's...44p Pattern 1013-40411 le &wokono/ JP. 30. V. 42 Pufw5.e4 pellet,Jo spl.pn4o y front./ Ppm 1041Os. Inehnfory siempop peree.1Se. Sm.- rake. put*, No. 14147,

BEST COPY AVAILABLE

28

CLOTHING STYLE IDENTIFICATION CHECKLISTPLEASE NOTE: [se separate checklists to profile each style you have identified within yourstudent body or local community. Use extra paper if you need more space, but mark thepages "AB continued... for example. if you submit them to the Smithsonian.

Date

Name of style

Do people who wear the style call it this name?

Do people who do not wear the style call it this name or did vou make up the name?

Please estimate the percentage of persons in the school who wear this style.

List the other styles you have identified and estimate the percentage of individuals who Wearthose styles.

Would a person from a particular race, religious group, or ethnic background wear this stylemore often than a person from a different hackground? If so, please explain.

Is this sh le worn hy hoys. girls, or hoth?

If hoth boys and girls wear the style and you are going to submit information to theSmithsonian, please make up one ( heeklist hn a boy and another for a girl.

I I< Av old ;H.(' most of the wearers?

bac.4.

2 5

2 6

Describe the elements that make up the style for either a bov or a girl. What do you have tobe wearing to look like this.! Note color or colors. if they are important. Note how items ofclothing are worn. for example. tight or hig and loose. cuffed up. short or long, inside out.lere's a possible way to make your observation, in top to bottom order. Use more paper if

necessary.

I lead (e.g., hairstyle, hat. make-up. facial hair)

Nlain dress (e.g.. pants. skirt. dress)

()utemear (e.g . coat. jacket )

Accessories worn (e.g.. jewelry. scarf, belt. keys)

Accessories carried (e.g.. hag. cane)

)escrihe this st le lw writing a juragraph Alma it

Very important:Anac b pbutograph (a- (knitting ( th)' style !foal this checklist 10 the Lsmiths(imaii

3 u

nan....naerenr...4 -.1,,I,rs,.esm4o1.,rp-strie. ramsm-cooarnwonwea andstrnnsarraernmnataaa

OPTIONAL SECTION IIf you send in Clothing Style Identification checklists to the Smithsonian. e woukl also beinterested in responses to the following questions. These questions are to be answered byindividuals, rather than by the group (have Only one person answer these questions, or makecopies for each member of the group). Use extra paper if you need more space.

low do vou feel about the style described on Form

Do you dress this way y(mrselt%

If your answer to the previous question is no, how do you think that affects how vou feelabout the style?

131Nato: Alm) fill nu! liwm 5, the Chilhha; Research Project sulnni%ymn

2 7

32

43E5 COPY AVAILA43LE

2 9

OPTIONAL SECTION IICan you think of someone who is a great example of this style? We'd like you to take somepictures of him or her and use the questions included here to gather additional information.You might first like to try out interviewing each otherthen you can '.1thange questions thatdon't make sense, or add more of your own. You don't have to get an answer to all of thequestions to submit the information you have obtained to the Smithsonian. Use extra paperif you need more space.

flow would you describe the way you dress?

Do you have a name for your style?

What is the biggest influence on your style?

Why do you dress this way?

Where do you see or read about clothes and fashion?

Do you dress like some star or famous person?

Try to complete the following phrases:"If someone wanted to dress the way I do they'd have to wear

"I usually shop at

'The next thing (to wear) that I want to buy is

-One thing that's changed about my look in the past 6 months is

If you'd Ilk*, give us some insights about yourself:Your favorite solitary activity?

Your preferred pursuits with friends?

Is this person willing to be contacted by the Smithsonian? Yes No

If yes, fill in the following:`,011 ItS11\1,1IltNII%\ 1NI, \1.IIIIs

silt1 / I 1,1,111%,

IIN SI III /11.'1'111

II \ HMI \ NI 11111I, 1\1 Il I I NI NMI,

Not: Also fill ma Form 5, the Clothing Research Project sudnission form.Very important: Maude photograph pemm wearmg the style.

72 .e.ni-ydrix",

31

Clothes Appeal: Commercial Arbiters of Style

OBJECTIVE:Learning to analyze media images. primarily those conveyed in advertising, as they mayinfluence clothing choices; increasing awareness and understanding of media influences.

FOCUS:Collecting and discussing commercial inlages of clothing.

TEACHER'S BACKOR-,UND:If vou have progressed through the activities in this kit. )'out- students have been thinkingabout how they dress. in particular. how other people may affect the way they dress. Thisactivity explores influences from the larger society, mostly mass media, that also afIectclothing choice.

Nlass media images. especially those on television and in magazines and newspapers, usewords and pictures to influence, persuade, even manipulate us to purchase new styles anditems of clothing. This activity helps students see, analyze, and understand the messagesbehind those words and pictures.

A gc nil of Image and Identity is to promote objectivity and self-awarene:,, about clothing sothat students may make informed choices rather than he passive consumers of' fashion./laving a better understanding of the influence of advertising encourages self-expressionrather than intitath in in wardrobe selection.

3 2

MATERIALS PROVIDED:Two zidvertisements from the Smithsonian archives

EQUIPMENT NEEDED:Additional material culled by students from mass media

Stpin class ask for definitions and explanations of advertising. Why do companies and organiza-tions advertise? Who creates ads? Consider the following points:

Advertising creates desire for a product.

Advertising plays on genuine human needs (food, shelter, security, love, sex), but thoseneeds may or may not be satisfied by the product or item advertised.

Advertising is "targeted." Advertisers figure out whom they are trying to reach and whatvarious groups exist within that audience (market segments). Advertisers determine whatappeal the product has to these audience groups and then plan to reach them.

Stop 2:As homework, ask students to bring in to class copies of ads or images that may have aneffect on the clothes they buy and wear. These may include magazine advertisements orillustrations: videotaped segments of television programs (including music videos) and filmson videotape, if you have access to a VCR machine.

Then, start the class discussion of the two ads on pages 3.4 and 35 using the questionsincluded here. If students have trouble understanding the appeals being made, explain thatthe ads were written for their grandparents or great-grandparents when they were young.What seems comfortably familiar in the ads? What seems strange because of the passage oftime?

Analyzing Advortislni:What is the promise or appeal being made? Examples:

wealth popularity

beauty social acceptance

success with the opposite sex status

fun and happiness sexual attractiveness

affiliation with famous person avoidance of rejectior or embarrassment

2. What part of the ad is making the appeal?

words pictures

music sound

drama or suiry told

3. Who or what groups are the target of the ad?

age groups ocrupatior:al groups

mak.s or females reional groups

3 b

33

SUGGESTED ANSWERS:Blue Moon

I. beauty, sophistication sexual allure

2. pictures of sexy, sophisticated women with w hom one can identilY

3. women, prchably younger women who fantasize about being carefree. weahhy and sexv

The Britisher1. equates mascuhnity, power, physie al activity, intelligence with clothingno details of

fal iric. price, style

2. wc Irds. with picture supporting

3. men who aspire to power and social sophistication

Step 3:Now move on to the examples students have brought to class. Start by answering the samethree questions about appeal. medium used, and target. then go on to general discussion.\lore pc)ssibilities for discussicfn:

You will probably see more pictures than words. Does that in itself mean anything?

Are pictures in black and white or color, sharp. or blurred, show ing motion"!

Do the models look perfect. or like real people? Ilow old are they?

SUMMING UP . . .

Do dominant themes emerge in clothing ads aimed at young people? What are these themes?Why do vou think they sell clothes?

Is it possible to be completely individualistic in clothing choice..? With so much influence'from others, can :I boy or girl have a personal style?

3 4

A NEW CREATION by BLUE MOONUmiak of II .quaiIte of flue!, 1411110O. Imre thread IIk Os.-14 It, III. Banos %11...sseItk %lurking. Imola

sIssslr.tesseri slesainslitssss,ss Is howls ss1 rosiness IkeWONG inp tO 104.. ilk a daini Piro, tdge. til I or out. .smort tan

11,11r/fie I vesIsssesr.s Issemotywnrelreloo. ;flue Sloon recommends . In 1.11 all,. ssr, ss,1 0.10" rt.r..1.111, all vnworillolle ..41004.0.

NIstos l ssa los ..1611fIlson. mesa Nor, leeMetaled Io: ... Os en lull. 1111. tee. .reallon Ore hidden reisslor, s-

11. Isma Ito., M11.15 a. 01.3.miest.1 III Olt.. 111,1 11,111 tor tor tong 111 toi istelni ta U11.4.11,1 M. ur. .1,, 51s, ,

3 d

BEST COPY AVAILABLE

3 5

We develop p e r so n alit i e s !

The BritisherPower and vigor mark The Britisher,our most recent interpretation of thedouble breasted suit. Every elementof proportion expresses a weighted per-sonality. Every detail of line givesfacility to the enthusiastic physicalactivity that is born in an agile mind.To see The Britisher is to know howwell we have developed clothing design-ing as an expression of the best charac-teristics of effective personalities.

LEBOW BROTHERSIiI111M0IM AND 114NOTKIL STI , BALTIMPRIII

nu form Asrsur, Nnir YOLK

Mtn Nt enr. It I, 'I

41FA

3 7

If you want to continue your study of clothing, find out if there are any clothing collectionsheld by the museums in your area. If so, try to arrange a tour or visit and a meeting with aperson knowlegeable about the collectkin Ask questions about who wore the ckahing, forwhat occasions. and what the clothing may have meant in the wearer's life.

When you are in Washington. D.C.. you can see numerous examples and images of clothing.fashion, and personal adornment in the Smithsonian's many museums. In additi(m to themajor collections within the National Museum of American Iiistory, other sources of informa-tion on the legacy of clothing throughout the ages include the following:

Uniforms, military. aviation. aerospace: Natkmal Museum ()1. American11ist(wy, Naticmal Air

and Space Museum

Jewelry and other objects of personal adornment: National Museum of African Art. ArthurM. Sack ler Gallery (Asian art). National Museum of American History

Clothing, body shape and size: in paintings and sculpture at the National Museum ofAmerican Art, Ilirshhorn Museum and Sculpture Garden. National Portrait Gallery

Early manclothing, objects of personal adornment: National Museum of Natural flistory

Design: Cooper I lewitt Museum, New York City

SELECT BIBLIOGRAPHYBatterberry, Michael, and Ariane Batterberry. Mirror. Mirror: Soda/ History ()/Tasbion.

New York: Ilolt, Rinehart and Winston. 19--.

Berger..Iohn. Wigs yrSeeing. New York: Penguin. 19--.

lollander. Anne. Seeing Through Clothes. New York: Viking. 19-.S.

Ka itier, Susan B. The Social Psyc/.70/Qco' yfc/othin,i; and /'ersorud Adunlittem. New York:Macmillan, 1985.

Kidwell. Claudia Brush, and Valerie Steele. eds lieu and Dressing the Port.

Washington, D.C.: Smithsonian Institution Press, 1989.

Roach, Mary Ellen. New Perspectives the lisioly tresicrn Ihvss. New York:NutriGuides. 1980.

%he Sell Percpectires on Dress. Englewood Cliffs. N.J.: Prentice-I lall. 19-3.

Rosencranz, M. L. -Clothing Symbolism.- Jmnuil tow Ecum,mics. \ol. Si ( January 1962).pp. 18-22.

41

4 2

BEST COPY AVAIABLE

39

CLOTHING RESEARCH PROJECT SUBMISSION FORMDirections: You submit form .1, form aa. lOrm th. or all of them, hut he sure to fill out andattach this li)r.n with your suhmission.

Today's (kite

Name of sc hool

Scht)ol mailing address

Is the school in: inner cil y? suburhs ?

j small tow n? 1J rural area?

Teacher's natne

Teacher's telephone

Class (sub./cc/ taught and the appimimaie age yl stu(/ents)

Mail to:Clot. Research Project

,Iluthsoilian Institution

Division of Costume. i202 \\1.11

Washington, D.C. 20-;Ni

Do not mond clothing.

pbulHgrapbs bccumc The pmperty (oho smith:40111m bwiturivii (ma cannot be returned.

4 3

Image & Identity: Clothing and Adolescence in the 1990s

41

Please take few minutes to complete this fcirm. This page is a postage-paid self-mailer. Fold asmarked, staple or tape the form together. and mail. Thank you!

A. Ahout ou

I Profession occupationLast degree ou Ita%e year of graduation

2. Isanploerj Educational institution SLAte ccr kcial go\ ernment other ( .s1 Scott'

3. (fender. .J Female \ 1 ak.

FId i. Re.idemt:

\\ ashington. I ) C.. mem ipolitan area other shite ( count],

a. Abc)ut the kit .

I ,I.1

I. I fcm ()1.1 first hear about this kit? ( Mark 'nay one n'..spon...e.

J Received information in mail j \espaper J Radio or ielevi.ionProfessicinal iournal neN\ stetter J Friend or colleague Other (4)ecili.)

2 what was the main reason pill requested these materials? Mark curly caw resp,,,m'Theme topics Opportunit to use a different eduk auonal resouR

J Interest in museum sork studiesJ Other lie(*)

3 I III (n% 01.1 Use the kit?

J In classJ .\, lihrar (ir media center resource

J Material was free ()I charge

J As extiti-credit assignment or mdkidual stud prow(J Other Sp0.1.11'

L II You use tilt kit in class. how many L lassro( an hours did ou spend on it' ( Walk may cat(' re.cp,Itsc

J I-2 hours J 2- 11( tut-, J i-h 110tirs. J 6-8 hi airs J I )t Iter fPc,././0

; Class in \\ In II the kit \.% As used

J Sca al studies J I It WM: OrWIlln J English J Alt J )tlier

Please kite the usefulness ic ccli ol handouts and ((intents ol the kit package ( Mark wie respwim. lor h

Veil tv11nel hat Marginall \otusefuluselul usclulusef ul

Les.ons

hi \\ orkslivets

( Assignments

d Photos I trill ings

Please rate ea( h ccl he Ic cli cwttli.i aspe, ts ()I the ka I relkinsefi,r eachNu pent it \i toN e \ erage iefo

erage axerage

.1 General information alumi clothing

I) Relation hem elm ()Het me.and (.( intents

\ :due to students

ci ,11111111.11iilti cci inteitsl

I iclelcipment cci Ming kIlls

t \ c.opincnt ot cam( al thinking skills

,

It raltimied cm bac h.)

I ,.1.1

C. Please give us your commems on this kit and suggestions for future topics.

Official BusinessPenalty for Private Use $300 il

NO POSTAGENECISSARY IFMAILED IN THEUNITED STATES

BUSINESS REPLY MAILFirst Class Permit No. 1291S Washington.

IIMMIIII11111=111811Postage will be paid by Smithsonian Institution

Smithsonian InstitutionOffice of Elementary andSecondary Education, A & 1 1163 MRC 402Washington, D.C. 20277-2915

4 6

Pits plibliCat1011 beA bCC11 1,1Ulth' p()+4;11)10 Ill a

pin?! haCrIlan ( Mal (,urpulallf