Rejuvenating Children`s Wear by Integrating Art Shamika R. Maxie

Rejuvenating Children’s Wear by Integrating Art
Shamika R. Maxie
Submitted in Partial Fulfillment of the Requirements
For the Degree of Master of Fine Arts in Fashion
At
The Savannah College of Art and Design (SCAD)
© August 2012, Shamika R. Maxie
The author hereby grants SCAD permission to reproduce and to distribute publicly paper and
electronic thesis copies of the document in whole or in part in any medium now known or
hereafter created.
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Ms. Lori Stone
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Committee Chair
____________________________________________________________/___/_____________
Ms. Tamara Joyner
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Committee Member
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Ms. Linda Lapp
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Committee Member
Rejuvenating Children’s Wear by Integrating Art
A Thesis Submitted to the Faculty of the Fashion Department
In Partial Fulfillment of the Requirements for the
Degree of Master of Fine Arts in Fashion
Savannah College of Art and Design
By
Shamika R. Maxie
SCAD-Atlanta Campus
August 10, 2012
In Dedication to:
I dedicate this thesis to the loving memory of my mother Paula Robin Maxie.
Acknowledgements
The author wishes to express sincere appreciation to Professor Rachel L. Stone, Professor Linda J.
Lapp, and Ms. Tamara Joyner for their assistance in the preparation of this manuscript. In
addition, special thanks to Ms. Kimberly Irwin whose familiarity with the needs and ideas of the
thesis was helpful during the early stages of creating the body of work. Thanks also to the
members of the department of fashion for their valuable input.
Table of Contents
Contents
List of Figures and Illustrations ................................................................................................... 1-3
Abstract ........................................................................................................................................... 4
The Times When Children Were Adults ........................................................................................ 5
Childhood .................................................................................................................................... 5
Clothing ....................................................................................................................................... 6
Beginnings of a New Child ............................................................................................................. 8
Childhood .................................................................................................................................... 8
Clothing ....................................................................................................................................... 9
The Century of Gender Based Clothing........................................................................................ 14
Childhood .................................................................................................................................. 14
Clothing ..................................................................................................................................... 15
The Century Children Became Profitable ..................................................................................... 21
Childhood .................................................................................................................................. 21
Marketing focuses on children .................................................................................................. 22
Clothing ..................................................................................................................................... 28
Fashion in the 21st Century Has Gone Too Literal! ...................................................................... 37
Childhood .................................................................................................................................. 37
Marketers Continue to Target Children .................................................................................... 37
Children’s Fashion Market Today ............................................................................................ 39
Fashion Today ........................................................................................................................... 40
Children’s clothing moving forward in the 21st century ............................................................... 46
My Collection ............................................................................................................................ 46
Conclusion................................................................................................................................. 55
Works Cited ............................................................................................................................. 56-58
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List of Figures and Illustrations
Figure 1: Painting of 17th century childrens clothes ....................................................................... 5
Figure 2: Painting of 17th century childrens clothes ....................................................................... 5
Figure 3: Painting of 17th century childrens clothes ....................................................................... 5
Figure 4: Child in swaddling clothes, 1477 ..................................................................................... 6
Figure 5: Swaddling band made of linen with a lace and embroidered trim, 1575-1600 ................. 6
Figure 6: Native American baby swaddled, 1911 ............................................................................ 6
Figure 7: Painting of 17th century childrens clothes ....................................................................... 7
Figure 8: Painting of 17th century childrens clothes ....................................................................... 7
Figure 9: Painting of 17th century childrens clothes ....................................................................... 7
Figure 10: Painting of 18th century childrens clothes ..................................................................... 8
Figure 11: Painting of 18th century childrens clothes ..................................................................... 8
Figure 12: Doll made by an English toymaker around the American Revolution.......................... 9
Figure 13: The Doll “Miss Chalkey” wearing a gown with leading Strings .................................. 9
Figure 14: Leading Strings ............................................................................................................. 9
Figure 15: Child in a pudding cap, The English Children of Ferdinand of Parma, 1778 ............. 10
Figure 16: Pudding cap, 1770-1800 .............................................................................................. 10
Figure 17: A Stay .......................................................................................................................... 10
Figure 18: A Stay boned and lined with linen, New York, 1740.................................................. 10
Figure 19: Boys Frock, 1792 ........................................................................................................ 11
Figure 20: Franklin D. Roosevelt in a frock,1884 ........................................................................ 11
Figure 21: Frocks at the Smithsonian Museum ............................................................................ 11
Figure 22: Charlotte Bosanquet and Her Five Elder Children, 1795 ............................................ 12
Figure 23: 8 year-old Isabella of Parma ........................................................................................ 12
Figure 24: 1805-1806 Skeleton Suit ............................................................................................. 13
Figure 25: High waist tight fitting skeleton suit, 1780-1820 ........................................................ 13
Figure 26: Skeleton suit for both boy and girl .............................................................................. 13
Figure 27: Clothing worn by children during the Industrial Revolution ...................................... 14
Figure 28: Boys during the Industrial Revolution ........................................................................ 14
Figure 29: Childrens dress while hard at work in the factories .................................................... 15
Figure 30: Childrens dress while hard at work in the factories .................................................... 15
Figure 31: Boy in a pleated skirt and high button baby boots, 1870 ............................................ 16
Figure 32: Sister and brother in white cotton dresses, 1905 ......................................................... 16
Figure 33: Boy in knickerbockers ................................................................................................. 17
Figure 34: All girls and possibly one boy in springtime dresses, 1900 ........................................ 17
Figure 35: Boys wool tweed blazer and waistcoat, 1850-1875 .................................................... 18
Figure 36: Boys wool tweed waistcoat, 1850-1875 ...................................................................... 18
Figure 37: Tweed or Wool in Norfolk jacket................................................................................ 18
Figure 38: Little boy dressed in Lord Fauntleroy suit with a lace peter pan collar and bow ....... 19
Figure 39: Kids in Little Lord Fauntleroy suits in 1914 ............................................................... 19
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Figure 40: Book “Little Lord Fauntleroy” .................................................................................... 19
Figure 41: Kate Greenaways book “Under the Window” ............................................................ 20
Figure 42: Drawings from Under the Window, 1879 ................................................................... 20
Figure 43: Drawings from Marigold Garden, 1910 ...................................................................... 20
Figure 44: Tate family in the 1900’s............................................................................................. 21
Figure 45: Family portrait in the 1970 .......................................................................................... 21
Figure 46: Girl in dress, 1910 ....................................................................................................... 22
Figure 47: Children and a tricycle, 1925 ...................................................................................... 22
Figure 48: 2007 publication of Earnshaws Infant Department…………………………………..22
Figure 49: Young girl on roller skates in St. Louis, 1921………………………………………..24
Figure 50: Sailor-inspired outfit on a young boy child, 1920 ....................................................... 24
Figure 51: Three young children in bonnets and sailor caps in America, 1920 ........................... 24
Figure 52: Children buying movie tickets, 1940 .......................................................................... 25
Figure 53: Negro fashion show in Harlem, NY, 1920 .................................................................. 25
Figure 54: Young girl and mother shopping in a department store, 1950 .................................... 26
Figure 55: Ruffled tier skirt, 1950 ................................................................................................ 26
Figure 56: Young girl in a poodle skirt ......................................................................................... 26
Figure 57: Child model, 1961 ....................................................................................................... 27
Figure 58: Girl plays with scooter, 1965 ...................................................................................... 27
Figure 59: Girls in flowered dresses, 1969 ................................................................................... 27
Figure 60: Boys patterns ............................................................................................................... 29
Figure 61: Boys patterns ............................................................................................................... 29
Figure 62: Boys patterns ............................................................................................................... 29
Figure 63: Pink and blue night gowns for boys and girls ............................................................. 30
Figure 64: Pink for Girls, Blue for Boys....................................................................................... 30
Figure 65: Cover of rationing clothing book, 1941 ...................................................................... 31
Figure 66: Rationing colored coupons, 1941 ................................................................................ 31
Figure 67: Itemized listing of clothes in a war rationing coupon book ........................................ 31
Figure 68: Itemized listing of clothes in a war rationing coupon book ........................................ 31
Figure 69: Cotton sailor suit, 1933 ............................................................................................... 32
Figure 70: Two small boys in sailor suits ..................................................................................... 32
Figure 71: Three siblings and one boy in a sailor suit in Ossian, Iowa, (1851-1927) .................. 32
Figure 72: Little girl’s dresses in a war nursery during WWII, Sept 4, 1942 ............................... 33
Figure 73: Woman laboring during WWII ................................................................................... 33
Figure 74: A white flannel backed cotton pique bunting from the 20th century .......................... 33
Figure 75: Plaid bellbottom ensemble .......................................................................................... 34
Figure 76: Boy and girl in matching outfits .................................................................................. 34
Figure 77: Boy and girl in matcing sweaters ................................................................................ 34
Figure 78: Mc Donald’s Advertisement ....................................................................................... 35
Figure 79: Singing group named TLC in 90’s fashion ................................................................. 36
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Figure 80: Super Mario Brothers game t-shirt .............................................................................. 36
Figure 81: Mary Kate and Ashley Olsen in 90’s fashion.............................................................. 36
Figure 82: J Crew Advertisement ................................................................................................. 38
Figure 83: Ralph Lauren Advertisement....................................................................................... 38
Figure 84: Target Advertisement .................................................................................................. 40
Figure 85: Burberry Advertisement .............................................................................................. 40
Figure 86: Abercrombie & Fitch Brand for Kids #1..................................................................... 41
Figure 87: Abercrombie & Fitch Brand for Kids #2..................................................................... 41
Figure 88: Unknown Brand .......................................................................................................... 42
Figure 89: Girl in Ed Hardy for kids ............................................................................................. 42
Figure 90: Boy in Coogi for kids .................................................................................................. 42
Figure 91: Janie and Jack vest and shirt #1................................................................................... 43
Figure 92: Janie and Jack vest and shirt #2................................................................................... 43
Figure 93: Janie and Jack shirt with animal applique ................................................................... 43
Figure 94: J Crew brand for boys ................................................................................................. 43
Figure 95: J Crew brand for boys ................................................................................................. 43
Figure 96: Zara clothing for kids .................................................................................................. 43
Figure 97: Janie and Jack model ................................................................................................... 43
Figure 98: The same dresses in different colors ........................................................................... 44
Figure 99: The same empire waist dresses in different fabrication .............................................. 45
Figure 100: Art inspiration for my collection ............................................................................... 47
Figure 101: Typography inspiration for my collection ................................................................. 48
Figure 102: Typography and illustration used in my collection ................................................... 48
Figure 103: Fabrication for my collection .................................................................................... 49
Figure 104: My illustrations for the Pop Tot collection ............................................................... 50
Figure 105: Fabric manipulation within the Pop Tot collection ................................................... 51
Figure 106: Pop Tot Mood Board ................................................................................................. 52
Figure 107: Pop Tot Illustrations and Technical flats ................................................................... 52
Figure 108: Pop Tot Illustrations and Technical flats ................................................................... 53
Figure 109: Pop Tot Illustrations and Technical flats ................................................................... 53
Figure 110: Pop Tot Illustrations and Technical flats ................................................................... 54
Figure 111: Pop Tot Illustraions and Technical flats .................................................................... 54
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Rejuvenating Children’s Wear by Integrating Art
Shamika R. Maxie
August 2012
Abstract
Clothing, being around for over six hundred and fifty thousand (650,000) years, is worn for
several different reasons. Westermarck stated the most obvious is the desire to protect the body
from frost and dampness. The second reason is the need to protect the body against the attacks of
insects and to prevent injuries to the body’s internal organs. Another motive according to
Havelock Ellis, Lombroso, and Ferrero, is to forestall the arousal of a feeling of disgust at certain
body secretions. Schurtz, Ratzel, and Wundt, has confirmed the fourth reason, the most popular,
that clothing originated due to the natural sense of shame. Finally yet importantly, there is the
belief that clothing was an impulse to beautify or adorn the body (Sanborn 1-4).
The creation of children’s clothing is the focus of this thesis. The text examines the phrase
“childhood” throughout the centuries and its significance. In addition, it focuses on the history of
children’s clothes by their influences in society throughout the centuries. Also, goes into detail on
how marketers, advertisers, and retailers have made young people a leading force in fashion and
other markets. Furthermore, explains how clothing in the twenty first century is reliant upon trends
from previous centuries. The aim of this thesis is to revive designers and encourage them to take
fashion to the next level by incorporating art.
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The Times When Children Were Adults
Childhood
A French author, named Philippe Aries believed that the concept of childhood did not exist
before the seventeenth century (Aries 125). Modern “childhood” is thought of as a time when an
individual is strongly affected by another or by a specified time, place, or circumstance" (Ruben
693). A modern “child” is a dependent between the ages of birth and puberty, and does not reach
maturity until the legal age of the majority (Child). However, in the early 17th century, this was not
recognized and a child participated in society according to their abilities like adults. By this, I
mean both adult and child shared clothing, lodging, games, and work (Shavit 132). For example:
When a young person reached the age of seven they were moved out from the protection of their
family and welcomed into the work force (Clarke 4).
Figure 1
Figure 2
Figure 3
Maxie 6
Clothing
During this time, cloths and blankets swaddled1 newborns and young toddlers. The cloth
strips wrap around the body to ensure warmth and proper growth due to the tight restriction
(Swaddling Clothes). To go more into detail the child would wear a linen napkin shirt and head
cap. To keep the baby's head straight, a strip of linen called the stay-band passed underneath the
baby's cap and fastened to the shirt at the shoulders. Over this outfit, a large rectangular piece of
linen known as the bed wrapped around the baby's body and arms, and then fastened at the feet
with swaddling bands.
Figure 4: “Child in
Figure 5: Native American baby
Figure 6: Swaddling band made of linen with lace and
Swaddling clothes, 1477;
allposters.com”
swaddled, 1911
embroidered trim, 15-75-1600; museumofchildhood.org
At the age of five, children exchanged in their cloths for miniature versions of adult
clothing (Shavit 132). Towards the end of the century due to polarization,2 children gained a social
status and the concept of childhood began to develop (Shavit 132). This new way of viewing a
1
Swaddling- an age-old practice of wrapping infants in swaddling cloth’s, blankets or similar
Polarization (psychology) - the process whereby a social or political group divides into
opposing sub-groups.
2
Maxie 7
“child” brought about the designing of special clothes for them and started the evolution of
children’s wear.
Figure 7
Figure 8
Figure 9
Clothing for children then became a symbol of the separation of the world of an adolescent
from that of an adult (Shavit 133). A child’s wardrobe now consisted of attire that formerly
belonged to the realm of adult wear and lost its function as such (Shavit 133). For example,
breeches, formerly a standard piece of adult attire became a trademark of children’s dress (Shavit
133). Various garments designated different stages of childhood, and permission to wear a certain
item marked another stage in a child’s maturation until finally entering the adult world (Shavit
133).
Maxie 8
Beginnings of a New Child
Childhood
Childhood during the 18th century was the “New World of Children” (Plumb) The old
problems from previous centuries such as abuse, neglect, and child labor still existed, but
accompanied by a kinder “new” world. Children were now separate from adults and considered
impressionable, unformed beings that require much protection and attention from adult caretakers
(O'Malley 1). Childhood also became associated with progress, possibility, and mobility. Adults
were now enjoying their children and were making an effort to educate, reform, and improve them
(O'Malley 1). This in return brought about the explosion of books, toys, games, and schools.
Figure 10
Figure 11
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Clothing
Children’s clothing on the other hand, gradually went from constricting garments patterned
for adults to constricting apparel designed specifically to fit them. It was usually possible to
distinguish a child’s garment from an adult’s if size was not apparent. Toddlers of both sexes wore
dresses with close fitting bodices similar to those worn by women (Baumgarten). The bodices
fastened in the back, and often had leading strings or bands attached at the shoulders to help
parents guide a child who is learning to walk (Baumgarten). To promote youthfulness leading
strings remained on girl’s dresses long after their functions were outgrown (Baumgarten).
Figure 12: Doll made by an English
toymaker around the American
Revolution; Origin: Historytube.org
Figure 13: The Doll “Miss
Chalkey” wearing a gown with
leading Strings; Origin:
Historytube.org
Figure 14: Leading Strings; Origin:
Pinterest.com
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Toddlers also wore padded pudding caps much like modern crash helmets to protect their
heads if they fell (Baumgarten).
Figure 15: The English Children of Ferdinand of Parma, 1778,
Figure 16: Pudding cap made of glazed cotton, padded
Child to the far right in a pudding cap; Origin:
sew18thcentury.com
and stiffened, with velvet and silk ribbon, 1770-1800;
Origin: collections.vam.ac.uk
Since stays supported the back and encouraged proper posture, small girls and boys wore
them as early as 3 months old (Baumgarten).
Figure 17: A Stay
Figure 18: A Stay boned and lined with linen with eyelets on the center
back for lacing up; New York 1740; history.org
Maxie 11
In the later years of the century, concern grew about children’s health and their constricting
style of dress. As a result, it became a priority to provide ease of movement and construct less
restrictive clothing. The featured silhouette that promoted this new fluidity was the frock. This
ensemble was somewhat of a uniform worn by both girls and boys and consisted of a gown and
pantalets. Frocks were often white with sashes at the waist and made of cotton (Baumgarten).
Figure 19: Boys Frock, 1792; Origin:
rihs.worldpress.com
Figure 20: Franklin D. Roosevelt
in a frock,1884; Origin:
annascholtz.com
Figure 21: Frocks at the
Smithsonian Museum
During the years, 1750-1795 middle and upper class children older than toddlers remained
in uncomfortable miniature copies of clothes worn by their parents. The only details that separated
girl’s clothing from their mothers were the back-fastening bodices and petticoats rather than openfronted robes. Boys, on the other hand, differentiated themselves from men with the use of cuffs
and collars on shirts and coats. However, towards the end of the century there were changes in
clothing styles, which made garments more practical for children's play. For example, the creation
of “skeleton suits” this suit consisted of long trousers for boys and loose ankle-length skirts for
girls.
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Figure 22: Charlotte Bosanquet and Her Five Elder
Children, 1795; blogspot.com
Figure 23: 8 year-old Isabella of Parma; blogspot.com
The skeleton suit distinguished little boys from men because the trousers went all the
way down to the ankle, a style that men’s clothing would adopt mid-way through the 19th
century (19th Century Children's Clothing: Andover Historical Society Online Exhibit). The
pants had a very high waist, which resembled the girl’s empire waist but buttoned to a short
jacket. The skeleton suit fell out of popularity around the 1830s, therefore the age at which boys
were breeched increased to as old as eight at the end of the century (Morton-Bently).
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Figure 24: 1805-1806
Skeleton Suit;
wikipedia.org
Figure 25: High waist tight fitting skeleton
suit, 1780-1820; history.org
Figure 26: Skeleton suits for both boy
and girl that mimicked the empire
waist; hoofers.com
Maxie 14
The Century of Gender Based Clothing
Childhood
The early years of the nineteenth century was the worst time for children due to the
Industrial Revolution. This period marked a major turning point in the growth of the economy but
also created a huge demand for child labor. Children under the age of eighteen worked a minimum
of twelve hours a day with no more than two hours allowed for education (Lambert). To be more
specific the law recommended that kids ages nine to thirteen work forty-eight hours a week while
thirteen to eighteen year olds work a maximum of sixty-nine (Lambert). They worked positions
ranging from clay potters to water powered cotton millers to coal miners (Ashton 76). Gradually
throughout the years 1844-1867, the law started protecting children and finally banned them from
working in coalmines, textile factories, and as chimney sweeps (Lambert).
Figure 27: Clothing worn by children during the Industrial
Revolution; childrensboutique.org
Figure 28: Boys during the Industrial
Revolution; culturerev.blogspot.com
Maxie 15
Families during this time were very large due to the high infant mortality rate and the
acceptance that some children were going to be lost to harsh labor conditions. Some children were
not allowed to attend schools or offered education until the 1870’s (Lambert). Once provided, the
Forsters Education Act enforced certain stipulations only offering education to children twelve and
under. Learning also came at a price until abolished in 1891. Education was then provided by
Church’s, Dame Schools, Public Schools, Grammar Schools, Private Schools, and Governess’s
(Lambert).
Figure 29: Childrens dress while hard at work in the
factories; needham.k12.ma.us
Figure 30: Childrens dress while hard at work in the
factories; needham.k12.ma.us
Clothing
Moving forward through the century, marketers believed that children’s economic
influence was limited to the candy counter and the toy department (Cook, The Commodification of
Childhood: The Children's Clothing Industry and the Rise of the Child Consumer 3). It was ideal
to view children as "perfect beings” who were not only without sin, but who offered adults a model
of unworldly goodness” (Connolly). This mindset ensured that the target market was mothers in
Maxie 16
the children’s wear industry (Cook, The Commodification of Childhood: The Children's Clothing
Industry and the Rise of the Child Consumer 2). In addition, as a child grew towards emotional
and physical maturation, they inevitably lost their innocence (Connolly). Therefore, to designate
and preserve this innocence as long as possible, designers were encouraged to keep gender
distinctions in infant and toddler’s dress to a minimum (Connolly).
Figure 31: Boy in a pleated skirt and high button
baby boots, 1870
Figure 32: Sister and brother in white cotton dresses, 1905;
histoclo.com
Nevertheless, some infants and toddlers remained to be dressed in smaller versions of adult
attire. In addition, both sexes continued to wear low neck lined dresses with the new addition of
leading strings.3 Male infants wore gowns, skirts and doublets during this time because pants
3
Leading Strings- are strings or straps by which to support a child learning to walk. In Europe
during the 17th and 18th century, they used narrow straps of fabric that were attached to children's
clothing to keep their children from straying too far or falling as they learned to walk.
Maxie 17
symbolized an accession to manhood. By the age of 5 or 6, gender distinctions in dress became
more obvious. Girls continued to wear skirts and dresses, but boys were now being "breeched",4
which meant they were able to start wearing bifurcated garments. For example, in the 1870s,
breeched boys wore short trousers that fastened at the knee called knickerbockers.
Figure 33: Boy in Knickerbockers
Figure 34: All girls and possibly one boy in springtime dresses, 1900;
histoclo.com
Age in the nineteenth century was an important factor in clothing. A girl’s age could be
determined based on the length of her skirt. For example: a four year old girl would wear her skirt
at knee length; a ten to twelve year old at mid-calf; and by the age of sixteen, a girls dress would be
ankle length. Girls wore back-fastening gowns, but the trims were much simpler than those of
their mothers were. The only items that girls did not wear were jackets and bed gowns.
Boy’s style of dress remained similar to that of an adult male especially with the use of
blazers and Norfolk jackets. They also wore shirts, breeches, waistcoats, and coats as a man
would, but the coats fit and trims were different and often revealed their necks. However, the age
4
Breeching- was a milestone event, indicating that a boy had demonstrated increased maturity.
Maxie 18
of a boy was determined based on the length and type of trouser. For example, a boy under the age
of five wore skirts and kilt ensembles; boys between the age of five and ten wore short
knickerbockers; and after the age of ten, it was recommended that they wear long trousers.
Figure 35: Boys wool tweed Blazer and
wool/silk blend Waistcoat, 1850-1875;
fidmmuseum.org
Figure 36: Boys wool tweed
Blazer and wool/silk blend
Waistcoat, 1850-1875;
fidmmuseum.org
Figure 37: Tweed or another
type of Wool Norfolk Jacket;
davidphil.com
Moving towards the end of the 19th century it became a common trend for parents to take
the style of dress from adolescent books and apply them towards their own children. For
example, in the 1880’s a children’s novel called “Little Lord Fauntleroy5” inspired a style called
the Little Fauntleroy Suit. The suit consisted of a velvet knee pant with a lace-collared shirt
(Historical Boys Clothing). This trend reigned amongst little boys ranging from ages two to
thirteen from the years 1880-1910 (Historical Boys Clothing).
5
Little Lord Fauntleroy-The first children’s novel written by an English playwright and author
Frances Hodgen Burnett
Maxie 19
Figure 38: Little boy dressed in Lord
Fauntleroy suit with a lace peter pan
collar and bow; blogspot.com
Figure 39: Kids in Little Lord
Fauntleroy Suits in 1914; zazzle.com
Figure 40: The book “Little Lord
Fauntleroy,” written by English
playwright and author Frances
Hodgson Burnett; wikipedia.org
Illustrators also became influential to parents. One illustrator in particular was Kate
Greenaway. She was an English illustrator and writer of children's books during the years 18671901. It was apparent in many of her texts that she took a special interest in styling young girls
and boys. Page after page of some of her books like “Under the Window” and “Marigold
Garden” reflected young girls dressed in her versions of late eighteenth century fashions. These
fashions included, smock frocks and skeleton suits for boys, and high-waist pinafores and
dresses with mobcaps and straw bonnets for girls.
Greenaway created an idealized vision of childhood, with small rounded figures skipping
through decorative rural landscape.
Her work was somewhat of a fashion inspiration. A
department store named Liberty located in Central London adapted her drawings as designs for
their children’s section. The book “Under the Window” published in 1879 is the “Greenaway
Vogue”. In addition, “Marigold Garden” published in 1885 was one of the earliest examples of a
designer picture book.
Maxie 20
Figure 41: Kate Greenaways
book “Under the Window”
Figure 42: Drawings from Under the Window,
1879;squidoo.com
Figure 43: Drawings from
Marigold Garden, 1910;
www.flickr.com
Maxie 21
The Century Children Became Profitable
Childhood
The first change in thinking about childhood during the twentieth century is the drastic
decrease in family size (Banks 129). The wide spread family limitation from the Victorian middle
class to the rest of the population extended throughout the century until the 1970s (Clarke 10). The
decline went from an average of five or six children per family in the 1870s to below two in the
1970s (Clarke 10). This decrease had an influence on how much time, effort, and attention was
devoted to each child (Clarke 10). It also became ideal to have a family with one or two children
than to have eight or nine.
Figure 44: Tate family in the 1900’s; cmstory.com
Figure 45: Family portrait in the 1970’s;
mywanderinglife.com
Maxie 22
Marketing focuses on children
Another key change that arrived with this modernity was the shift in the emotional meaning
and significance of the way the public felt about children. The twentieth-century centered on the
child and the emotional focus was on the child’s welfare, which would have been unrecognizable
in previous centuries. Retailers, Marketers, and Advertisers also adjusted the way they viewed
children. They were now considering them consumers and a great market force (Cook, The
Commodification of Childhood: The Children's Clothing Industry and the Rise of the Child
Consumer 2). In fact 1917, landmarked the year when companies first began to recognize the
children’s apparel market as a profitable industry.
Figure 46: Girl in dress, 1920;
gettyimages.com
Figure 47: Children and a tricycle,
1925; gettyimages.com
Figure 48: 2007 publication of
Earnshaws Infant Department;
ambajam.com
Maxie 23
This year also brought about the production of the first trade journal called, “Earnshaw’s
Infants Department” (Cook, The Commodification of Childhood: The Children's Clothing Industry
and the Rise of the Child Consumer 2). It stated in the Children’s Bureau6 Baby Week that if
retailers keep the baby's interest in mind, the baby's immediate family would be interested in your
store. In addition, the baby itself will quickly grow into a real buyer in the store. Its needs will
grow as the baby grows, too. Do not forget that! (Childrens Bureau Baby Week 107). This
statement alone brought about the creation of separate departments and areas, which offered childscaled goods and services in the 1920’s.
Children were “real customers” on the retail floor (Cook, The Commodification of
Childhood: The Children's Clothing Industry and the Rise of the Child Consumer 3). Children’s
“needs” and “desires” along with their mothers pushed the designs of their clothing and other
goods (Cook, The Commodification of Childhood: The Children's Clothing Industry and the Rise
of the Child Consumer 3). Designers were also making good use of popular culture characters and
icons to create age graded clothing. Attention was not only to style, but also to the comfort and
needs of children. This meant discarding silk, lace, and velvet and using other fabrics that could
stand up to the weather and wear and tear of child’s play such as cotton, wool, and knit jersey
(Stratford).
6
Children’s Bureau-is a federal agency organized under the United States Department of Health
and Human Services. It was created in 1912 and was directed, managed, and staffed almost
entirely by women—a rarity for any federal agency in the early 20th century.
Maxie 24
Figure 49: Young girl
in St. Louis, MS, 1921;
wikipedia.org
Figure 50: Boy in sailor
outfit, 1920;
wikipedia.org
Figure 51: Three young children in bonnets
and sailor cap, America, circa 1920;
gettyimages.com
Merchants during this time had experience with children as customers but not as
consumers, so they started focusing more on the sociological aspects of children. For instance, the
goal of a commercial establishment was to interact with children to know their role as a customer.
They were going as far as asking children directly about their preferences for goods (Cook, The
Other "Child Study": Figuring Children as Consumers in Market Research, 1910-1990's). Parents
complied with their children becoming customers. They gave them the freedom to spend their own
money in restaurants, theaters, arcades, pool halls, and on nickelodeon items (Cook, The Other
"Child Study": Figuring Children as Consumers in Market Research, 1910-1990's).
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Figure 52: Children buying movie tickets,
1940; gettyimages.com
Figure 53: Negro fashion show in Harlem, NY, 1920;
blogspot.com
One writer summarized the dimensions of the child market in 1923: "First the boy and girl
are in themselves markets for certain products. Second, the child can have definite if indirect
influence on the sale of products for adult use. Third, the child of today becomes the big buyer of
tomorrow" four (Gridley 31-32). This being said companies wanted to discover more about
children, so to gather information Parents Magazine and Child Life Magazines were relying on
feedback from parents and child study associations. In addition to those tactics there was an author
named E. Evalyn Grumbine who in 1938 published a text named “Reaching Juvenile Markets.”
Grumbine explained how to advertise, sell, and merchandise items based on age and the
developmental categories of a juvenile (Cook, The Commodification of Childhood: The Children's
Clothing Industry and the Rise of the Child Consumer 75). She contributed valuable statements
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like “children four through six-exhibit imagination on a broader scope and can be capitalized by
utilizing fairy tales and characters in fantasies on products” (Grumbine 34-35).
Figure 54: Mother and daughter shopping,
1950; gettyimages.com
Figure 55: Ruffled tier skirt,
1950; gettyimages.com
Figure 56: Girl in poodle skirt,
1950; gettyimages.com
Other ways of gathering information was seeking out other markets that were targeting
children like the Hecko-H-O-Rangers Club7 (Cook, The Commodification of Childhood: The
Children's Clothing Industry and the Rise of the Child Consumer 76). This group would have
children participate in activities and mail-ins on cereal boxes. Some of their reports have included
data like children from ages seven through thirteen have a high spirit of adventure (Cook, The
Commodification of Childhood: The Children's Clothing Industry and the Rise of the Child
Consumer 76). In addition, peers from their own age group influence them, and this is stronger
than the influence of adults, which means they pick heroes of their own age. There is also an
understanding that children dislike treatment as if they are a child. When targeting a child it should
7
Hecko-H-O-Rangers Club- a maker of a cereal oats whom would interact with children through
cereal boxes
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be through an appropriate media and should not alienate their mothers (Cook, The
Commodification of Childhood: The Children's Clothing Industry and the Rise of the Child
Consumer 76).
Figure 57: Child model,
1961; gettyimages.com
Figure 58: Girl plays with
scooter, 1965; gettyimages.com
Figure 59: Girls in flowered dresses, 1969;
gettyimages.com
In 1956, the Wall Street Journal described the nation’s 16 million young people as “a
market that was increasingly getting attention from merchants and advertisers.” Annually they
estimated that seven to nine billion dollars was spent on children (Delmont). Later in 1957, a
pioneer in youth marketing named Eugene Gilbert published a text called “Advertising and
Marketing to Young People.” This text was similar to Grumbine’s and shared his knowledge on
children based on the examination of various campaigns directed at the youth. He emphasized that
eight to eighteen years-olds were the fastest growing age demographic in the country. The size of
the youth market, combined with their willingness to try new products, was an unbeatable selling
Maxie 28
formula (Gilbert). He replied, Just look at the youth! “His physical needs alone constitute a
continuing and growing requirement in food, clothes, entertainment” (Gilbert).
Clothing
From the mid 1960’s onward market research increasingly involved children as subjects.
Besides the many researches taking place, there were also many controversies revolving around
children’s fashion during the twentieth century. One of the controversial issues included the
addition of sex specific clothing. A contributor to this issue was an American psychologist named
G. Stanley Hall. He published a series of articles arguing that gender distinctions were a hallmark
of modern western society.
In his view, parents had an obligation to teach their children gender roles. Parents assumed
gender appropriate behavior came naturally before Hall made these suggestions. One of his texts
read: Parents need to dress their male toddlers in pants to help them identify with their fathers. As
for the theory, parenting magazines put it into action by advising its readers on the proper way to
dress their children. One of their suggestions was to leave the girls in embroidered white lace
dresses and let the boys start wearing pants at an earlier age.
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Figure 60: Boys patterns, 1940
Figure 61: Boys patterns, 1940
Figure 62: Boys patterns, 1940
Over the next couple of decades, another issue arose in boys and girls fashion. Now that
the boys were finally free from wearing dresses, it was also time to un-smoother them from the
color pink. In many European countries, pink was the dominant color for boys, and blue was the
official color of the Virgin Mary, which made it a popular color for girls. In June 1918 an article
from the trade publication Earnshaw’s Infant’s Department read, “The generally accepted rule is
pink for the boys, and blue for the girls. The reason is that pink, being a more decided and
stronger color, is more suitable for the boy, while blue, which is more delicate and dainty, is
prettier for the girl”.
By the year 1927, Time Magazine found that the American color
conventions were completely unsettled with six of the ten retail giants including Marshall Fields
and Filene is using pink as the dominant color for baby boy accoutrements. This soon put an end
to boys in the color pink.
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Figure 63: Pink and blue nighties for boys and girls
Figure 64: Pink for girls, blue
for boys
The raging side effects of World War II in the 1940’s became another issue and had a
tremendous effect on children’s fashion. During this time, all cloth materials and sewing work
force went to making uniforms and other items needed for the war. Clothing also was rationed
therefore encouraging people to make do with what they had. Most people resorted to mending
their children’s clothing instead of buying new clothes. For the people that insisted on having new
items they had to use the rationing coupon booklet.
On June 1, 1941, the U.S. government issued these booklets to enforce the amount of
goods a family could have at one time. Enclosed were a certain amount of colored coupons for
every item of clothing worn by women, men, and children. When purchasing clothing, you would
first hand over the booklet to a shopkeeper, who then cut out one or more of the coupons for the
items selected. Each person held sixty coupons a year, which was later, reduced to forty-eight.
Children had an extra ten coupons above the standard ration to allow for growing out of their
clothes. This system only allowed an individual to buy one new set of clothes once per year.
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Figure 65: Cover of rationing clothing book, 1941;
woodlands-junior.kent.sh.uk
Figure 66: Rationing colored coupons, 1941;
woodlands-junior.kent.sch.uk
Figure 67: Itemized listing of clothes that can be
purchased with a certain amount of coupons; woodlandsjunior.kent.sch.uk
Figure 68: Itemized listing of clothes that can be
purchased with a certain amount of coupons;
woodlands-junior.kent.sch.uk
The war also affected the trends in children’s apparel. Typical military styles were
influential especially with the sailor suits. This selection consisted of a shirt with a sailor collar
and trousers or knickerbockers. To accompany the knickers boys would wear long socks with
colored stripes.
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Figure 69: Sailor suit, 1933,
cotton; mccordmuseum.qc.ca
Figure 70: Two small boys in sailor
suits; ipernity.com
Figure 71: Three siblings in Ossian,
Iowa. The young boy is wearing a sailor
suit. Photographer: Gilbert G. Oyloe
(1851-1927);
cabinetcardgallery.wordpress.com
For girls, the war put a restraint on certain types of materials used to make fashionable
dresses. Wool was mostly favored and since it was limited, the use of artificial fibers like rayon
and viscose increased. Many mothers chose to sew their daughter’s dresses in polyester gingham
or in light breezy prints on cotton and polyester. Material rationing8 not only controlled fabric
selections but also determined the lengths of girl’s skirts and dresses. This led to trimming hems
on both dresses and skirt shorter than usual. Since women were now working, in the factories, they
had to wear trousers and this trend soon passed down to their daughters wearing bifurcated
garments too.
On the other hand, babies were placed in buntings if they were not walking yet. These
outfits were one-piece sets with no legs and shaped like a bag. During the summer, babies dressed
in sun suits that were hand embroidered with ducks, planes, or clouds by their mothers.
8
Rationing was a method used by the government to ensure that everybody was able to receive
equal amounts of raw materials.
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Figure 72: Little girl’s dresses
in a war nursery during WWII,
Sept 4, 1942; gettyimages.com
Figure 73: Woman laboring during
WWII; gettyimages.com
Figure 74: A white flannel backed
cotton pique bunting from the 20th
century; fleurdandeol.com
When the war ended in 1945, the generation of baby boomers began. This led to a high
demand for children’s clothing during the years 1946-1964. This point in time marked the rise of
the s-silhouette, sportswear, tailored fashion, and the resurgence of haute couture. Children’s
clothing began was constructed at a higher quality, and even adopted the trends of older women.
The soft femininity of Christian Dior’s “New Look” silhouette replaced square shoulders and short
skirts. This look entailed long sweeping skirts, fitted waists, and rounded shoulders. Long jeans
and pants replaced boy’s knickerbockers. T-shirts also became popular since that was a common
piece of attire worn by men during the war.
The 1970’s, 1980’s, and 1990’s, focused on children being an autonomous9 consumer
(Cook, The Other "Child Study": Figuring Children as Consumers in Market Research, 19101990's 287). The industry relied on marketing items based on the growth and development of a
9
Autonomous- existing and functioning as an independent organism.
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child (Cook, The Other "Child Study": Figuring Children as Consumers in Market Research, 19101990's 287). The 1970’s began with jeans frayed and tie-dye in full effect. The unisex trend
reappeared and highlighted in many catalogs presenting boys and girls in identical looking pants.
Both boys and girls wore jumpsuits, short shorts, bell-bottom pants, and crocheted sweaters.
Again this movement began to de-emphasize gender roles, but was short lived due to fashion
designers of the 1980’s influencing parents dress their girls in frills and dresses.
Figure 75: Plaid bell-bottoms
ensembles, 1970
Figure 76: Boy and girl in
matching outfits
Figure 77: Boy and girl in matching
sweaters
In the 1980’s, children’s fashion was modeled after scaled down versions of outrageous
fashions made popular by adults of the times. Bright colors, large accessories, and big hair ruled
the decade and reflected on many television programs and magazines available to children. Many
children wanted to dress like their favorite musician of this time like Madonna and Michael
Jackson. Overalls were also in style and sold by Oshkosh B’Gosh and Levi Strauss & Co. Every
household was familiar with this style due their durability during playtime and both boy and girl
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friendliness. The overalls fabrications consisted of cotton, denim, and, or corduroy materials.
Character, logo, and band t-shirts were also popular. Designs included images of popular cartoons,
super heroes, movies, video games, funny sayings, and music icons.
Figure 78: McDonald’s Advertisement, 1980
Television programs, the Music industry, and Hollywood glamour influenced the 1990’s
clothing styles. Fashion stretched across the board from Grunge to Goth inspired ensembles.
Baggy jeans, cargo, carpenter, and oversized overalls became the hottest styles of the decade.
Oversized t-shirts, sweatshirts, and sweaters accompanied the overly baggy and heavily pocketed
bottoms. To jazz up denim at the knees and hems rips, tears, and even pulled strings added interest
and created distressed appeal. This is also the year big name designers began producing clothing
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lines exclusively for children. The designers would even have their names in large bold print and
solid colored patterns.
Designer clothing became more popular and the presence of the
manufacturers name on a garment became a symbol of status and the beginning of brand
consciousness for children.
Figure 79: TLC singing group, 1990’s
Figure 80: Super Mario Brothers
game t-shirt
Figure 81: Mary Kate and
Ashley Olsen, 1990’s
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Fashion in the 21st Century Has Gone Too Literal!
Childhood
This is the twenty-first century and there is much to say about children and “childhood.”
To begin, in today’s society the age of seven is marked as the gradual move from infancy to
childhood (Clarke). A child begins to establish a sense of identity at the age of six to the age of
fourteen (Eccles 30). During this time, children make strides towards adulthood by developing
self-awareness, becoming more independent, and being involved in a world beyond their home
(Eccles 30). Their social relationships and roles change drastically as well, due to them entering
schools, joining programs, and becoming involved with peers and adults that are not their family
members (Eccles 30).
Once enrolled in school they exposure to social comparison and competition in their
classrooms and peer groups begins. Children then develop a sense of self-esteem and individuality
by comparing themselves with one another (Eccles 30-44). Childhood is now a time when children
have the opportunity to develop competencies and interests (Eccles 30-44). They also gain a
healthy sense of confidence needed to control their own worlds (Eccles 30-44).
Marketers Continue to Target Children
We are currently twelve years into the century and have continued to be a child centered
society. Children have now become accustomed to having their every need accommodated with
their own bedrooms, clothing, and latest technology. This has made them the most influential
factor in the spending habits of many families. In fact, statistics show that eight to twelve year
olds spend $30 billion dollars of their own money and another $150 billion dollars of their
Maxie 38
parent’s money per year on items for themselves (Pelley). Shopping has become a central part of
family life and the number one leisure activity amongst young ones (Linn).
Marketers spending over $17 billion dollars annually on advertisements (Livingstone) have
established the overwhelming push for child consumption. These ads have successfully captured
the attention of young one’s through visual outlets like television, magazines, and the internet.
Gilbert stated, “The child is a godsend to any business or industry reliant upon the turnover of
goods (Gilbert). This statement remains to be valid and is why retailers continue to nurture these
lucrative relationships with kids through a method called market research. Marketers use this
research to help them label a child as a selling type instead of getting to know a child as an
individual.
Figure 82: J Crew Advertisement, 2012
Figure 83: Ralph Lauren Advertisement, 2012
Some of the information marketers have gathered includes: children ages six to fourteen
desperately seek the need to belong and having the right items is the quickest route to acceptance
(Bachmann Achenreiner and Roedder John 205). They believe that a child always wishes to be
more independent and older than the chronological age will allow, and they realize this through the
participation in the world of goods. They also believe that young people are only interested in what
other children of their own age are saying and doing. In order to sell to children they must feel as if
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an item packaged is especially for them, so to cater to this idea another child needs to be on the
label (Gilbert). For example, a child wants to participate whenever they see a picture of
themselves eating a special product or wearing a special pair of new shoes (Gilbert).
Marketer’s research has also helped them to divide the children’s market into sections and
capitalize on them by their age differences. They believe that even though the categories: tweens,
pre-teens, and teens are very separate, what unites them is the constant search for novelty, which
then imparts social distinction. By this, I mean a child likes new things and is always seeking the
different and unusual, and wants to be the first to produce a new item (Gilbert). Marketers
consider a child to be a whimsical creature and therefore look past anything that is old fashioned,
out of style, or yesterday’s package. The youth’s entire life experience is new and constantly
demands new approaches (Gilbert). Childhood is the essence, the embodiment of consumer culture
and a simulacrum of the fashion system (Gilbert).
Children’s Fashion Market Today
According to Just Style, the U.S market currently spends the greatest amount of capital
on children’s wear than any other country in the world. The market is growing six to seven
percent each year and expects to generate retail sales of $168 billion dollars in the U.S alone by
the end of 2012. They have stated that the best time of the year for children’s wear sales is in
August and September just before school begins. The younger categories like, infants, toddlers,
and preschool are dominating the industry in all markets, but the tweens market is ripe with
opportunity.
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The tween’s market has been pin pointed for their love of fashion and the money they
spend each year. Just style has stated that the market for girl's wear is far greater than boy's wear
throughout the world. Boy's apparel centers on the basics, with few designers capitalizing on
fashion forward moms willing to spend money on their sons clothing. However, Girl’s wear
thrives in all channels from specialty stores to department stores to discounters. Just Style has
also reported that there are plenty of opportunities in the designer and luxury market in
children’s clothing.
Figure 84: Target Advertisement, 2012
Figure 85: Burberry Advertisement, 2012
Fashion Today
Nineteen-nineties trends mixed with global and ethnic subcultures influenced the fashion
in the 2000’s. The styles included elements from genres like Prep School, Rock Indie,
Skateboarding, Hip Hop, and Mexican Cholo. Some of the most popular brands like, Hollister,
Old Navy, Abercrombie and Fitch, and American Eagle exemplified prep school. To be more
specific the Abercrombie & Fitch brand portrays the ideal image of a “preppie” lifestyle
(Bachmann Achenreiner and Roedder John 206). Their clothing overall has simple silhouettes,
muted colors, and comfortable cotton fabrics (Bachmann Achenreiner and Roedder John 206).
Maxie 41
Their brand symbolizes money, prep school, and sports such as lacrosse and rugby (Bachmann
Achenreiner and Roedder John 206).
Figure 86: Abercrombie & Fitch Brand for Kids, 2012
Figure 87: Abercrombie & Fitch Brand for Kids, 2012
The mainstream contributors to the Rock and Indie category are Ed Hardy and True
Religion.
Ed Hardy’s brand has displayed everything from tattooed sleeves, skinny jeans,
checkerboard prints, scripted t-shirts, and hoodies. Hip Hop demonstrated the best brands like
Ecko and Coogi. This genre has contributed elements such as gold embellishments and bling
(rhinestones) for both sexes, denim jackets with matching denim jeans, and acid wash layovers.
Then there is the Skateboarding category, which exhibited designs like tracksuits, baggy pants,
and camouflage. Lastly, to sum up the 2000’s there was the Mexican Cholo category, which
influenced khaki pants, and button front shirts with plaid and flannel prints.
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Figure 88: Unknown brand,
2000’s
Figure 89: Girl in Ed Hardy, 2000’s
Figure 90: Boy in Coogi, 2000’s
Children’s clothing from 2010 until now has been a mix of military influenced styles,
early 1990’s neon colors, and the revival of 1930’s, 50’s, and 80’s fashions. To get a closer look
I decided to move away from the books, magazines, and the internet and visit high-end and
middle-class malls in Atlanta, Georgia. The purpose of these visits was to examine silhouette,
style, color, and fabrication in children’s designer and luxury brands. The two locations that
were at the top of list were Phipps Plaza and Lenox Square Mall. Southern Living Magazine has
rated Phipps Plaza as the South’s premier upscale shopping center with Lenox Square Mall as
the runner up.
While in Phipps Plaza, I examined clothing in two department stores called Belk and
Nordstrom’s, and three independent storefronts called Hannah Anderson, Strausburg, and Janie
& Jack. In Lenox Square Mall, I visited two department stores called Bloomingdales and Macys
and two independent storefronts called Jacadi and Gymboree. During my exploration, it became
Maxie 43
obvious that boys clothing relied on simple silhouettes. Their styles for tops went as trendy as
collared, button up, and crew neck shirts, and for the bottoms pockets, pockets, and more pockets
remained the trend. Their design details strongly resembled styles of a grown man, and were
limited to one image or logo on the front of the tops. As far as fabrication, cotton was
mandatory, in colored solids, stripes, plaids, and checkered prints.
Figure 91: Janie and Jack vest,
2012
Figure 94: J Crew, 2012
Figure 92: Janie and Jack vest,
2012
Figure 95: J Crew, 2012
Figure 93: Janie and Jack shirt,
2012
Figure 96: Zara,
2012
Figure 97: Janie and
Jack, 2012
Maxie 44
Overall, the girl’s clothes were more delightful to see than the boys were. I observed
brands like Bonnie Jean, Rare Editions, and J. Khaki Girls in Belk. In Nordstrom’s I looked at
brands like: Mini Boden, Iris & Ivy, and Little Pretties. Finally yet importantly, in
Bloomingdales I examined brands like Juicy Couture, Burberry, and Ralph Lauren. Looking at
the tags the fabrication only ranged from cotton, spandex, polyester, viscose, terry cloth, sheer,
and corduroy. Their prints and patterns were limited to plaids, stripes, and polka dots. Design
elements went as far as ruffles, pleats, flowers, bows, and glittery appliques or pictures on the
front of tops and dresses. I also observed what every brand had in common and that was the
same silhouettes with different fabrication.
Figure 98: The same dresses with different colors and patterns, 2012
Maxie 45
Figure 99: The same empire waist dresses with different fabrication, 2012
Maxie 46
Children’s clothing moving forward in the 21st century
My Collection
Since beginning my career in fashion, I have always enjoyed designing for women and
recently switched my focus to young girls. After reading a report by Just Style, it further
convinced me that the ideal market to be in is the girl’s tween’s designer or luxury segments.
The tweens market is a group of pre-adolescent girls between the ages of six to fourteen that
have a significant concern about their identities (Livingstone 63). With this said, it helped me to
continue my journey in girl’s clothing and pinpoint in the beginning stages of my collection
which market to design for. The next step was to figure out what kind of statement I wanted to
make with their clothing.
After brainstorming and researching the children’s market my thoughts were to figure out
how to take their clothing to the next level. This led to me asking myself several questions, what
is missing in children’s clothes today? What do children really like? Can clothing portray a
meaning other than the one associated with a brand name? Can learning be incorporated in their
clothing and if so what subject? These questions helped me to realize the concept of my
collection would be to incorporate Art into clothing. However, my intentions were not to go as
literal as working with an artist, or have them draw or print their designs on my clothing.
Integrating art will help to create greater self-expression, stimulate learning, and produce
stylish ensembles that children want to interact with their clothes. The idea of incorporating art
will also help me to create new silhouettes and new design elements for children. I will no longer
need to pull styles from previous years or from the current competition. I will have a free
conscious to start fresh and push clothing to be more innovative. This also opens the door to
Maxie 47
incorporating a variety of colors, fabrics, textures, and fabric manipulations. This also means that
I would need to go with a higher end line to stand out amongst the rest of the designer brands.
The next step in producing the ten-piece collection was to the inspiration of art. I
reviewed numerous artists in many visual fields like sculpture, painting, printmaking, and
photography. The genre that stood out the most was Pop Art and the infamous Andy Warhol.
Even though Pop Art focused on everyday items, comics, and popular culture, it made a
statement, which I am trying to accomplish with this collection. I felt that Pop Art incorporated
with fashion would be explosive and would allow for experimentation with different lines, shape,
color, form, and other design elements within clothing. This also led to me naming my tweens
collection Pop Tot.
Figure 100: Art Inspiration for my collection
Another form of art that was interesting to see was Typography. When thinking about
the heavy impact of brand names it would not be possible without a written form or style of the
font. Brands use their names on hangtags and every label inserted into each piece of clothing
sold today. However, with Pop Tot, I am trying to venture away from the established trends in
fashion. This led me to exclude the inside tag and take an artful approach of replacing its
Maxie 48
existence with visual imagery on the lining of every garment. My hopes are that a child will
familiarize themselves with the lining of their garment rather than a tag or label. This allowed
me to play with the type size and font style and the placement. For example, some of the text
was spaced far apart or jumbled together. It also sparked me to incorporate my illustrations
along with the font in a spontaneous manner.
Figure 101: Typography
inspiration for my collection.
Figure 102: Typography and illustration used in my collection.
The next step was to find fabrication and a color palette. After examining numerous
children’s wear lines, I found that their fabric selections were very limited. Their designs
included a majority of cottons, spandex, and polyester. This led to me interviewing two
managers at Hannah Anderson and Bloomingdales to see why fabrics are so scarce in children’s
wear. The first manager from Hannah Anderson named Lisa Price explained to me that the use of
those fabrics is because of their low maintenance, wash-ability, and affordability. The second
manager Alison Weldon from Bloomingdales says she thinks it due to irritation and if other
fabrics are used it would lead to the worrisome thoughts that a child might put the fabric in their
mouth. On the other hand, she was open to the thought of new fabrication but thought it should at
least be skin friendly on the inside.
Maxie 49
When searching for fabrics for the collection I did consider the two managers’ comments.
However, all fabrics are created for use and designed to withstand cleaning. This collection,
designed for tweens, will not have to worry about them putting fabric into their mouth and
swallowing. Marketers that a child likes to feel objects. “Children have been observed in stores
running their hands over items and touching everything in sight” (Gilbert). This statement is true
and I have kept this it in mind while selecting fabrics. Pop Tot includes fabrics like: ultra-suede,
embossed fur, patent leather, jersey and ponte knits, denim, vinyl, laminated cotton, and two
novelty polyester blends.
Figure 103: Fabrication for my collection
When thinking of the color palette I was overwhelmed. Since I am incorporating art this
leaves all colors available for me to use. However, when researching child psychology and color
it was stated that as a developing child prefers colors that they can name accurately (Pitchford,
Maxie 50
Davis and Scerif 993). This made me look at the colors children are using in their basic crayon
box which are usually: black, white, red, green, yellow, purple, orange, brown and grey. This
worked since the majority of these colors are pop colors and used by various pop artists. The
final collection includes blue, yellow, red, orange, and grey to calm the colors down once paired
together.
The next step was to illustrate my ideas and create trendy silhouette’s for my collection.
When illustrating the collection I kept in mind that a dress is a dress no matter how you draw it.
Incorporating art into clothing means exploring what is different; to make the silhouette new and
stand out amongst other dresses, tops, etc. In order to make a new garment you need to create a
different shape. My question is how many shapes are children exposed too by the age of six. The
most obvious answers were squares, circles, and triangles. This opened my mind to take every
detail about children’s clothing and reinvent it in the shape of a square.
Figure 104: My Illustrations for the Pop Tot collection
I applied this technique to jacket opening specifically where buttons needed to added. I
used the shape to decorate top layers of some garments in contrasting fabrications. I even went as
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far as using the shape for pocket openings on a dress. When thinking of an ordinary pocket, you
think they are in the inside of a garment, but in this collection, some of the pockets were on the
outside of the garments in the form of a square shape. The circular shape was also incorporated,
but only use on new shapes for armholes due to the square being uncooperative when sewn.
The next step was to figure out how children can interact with their clothes. What is going
to make them want to touch and play with their garments. This is be accomplished by adding a few
fabric manipulations. I even made some of my manipulations in the form of a square. I added the
squares in numerous seams on dresses, skirts, and leggings to add contrast. I also used
manipulations like box pleating and pin tucking to add more interest into some of the silhouettes.
Finally yet importantly, the garments were complete and featured in three fashions shows. The first
was the Graduate Fashion Show on May 26, 2011.
Figure 105: Fabric manipulations within the Pop Tot collections
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Figure 106: Mood Board for Pop Tot
Figure 107: Illustrations and Technical Flats
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Figure 108: Pop Tot Illustrations and Technical Flats
Figure 109: Pop Tot Illustrations and Technical Flats
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Figure 110: Pop Tot Illustrations and Technical Flats
Figure 111: Pop Tot Illustrations and Technical Flats
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Conclusion
In conclusion, clothing for children has drastically changed over the centuries. Adult wear,
children’s books, the misconception of health, and popular culture have influenced their clothing
styles. However, this is the twenty first century and children’s fashion should be moving forward
instead of backwards. Influences from outdated trends from previous centuries and even worse
adult clothing are repetitive in today’s styles. Children like new things and are always seeking the
different and unusual, and want to be the first to produce a new item. Market research moving
forward should seek out what children really like and what they are learning. It is safe to say
moving forward that fashion can be more innovative by incorporating art into children’s wear.
Maxie 56
Works Cited
19th Century Children's Clothing: Andover Historical Society Online Exhibit. 2012. 03 12 2012
<http://andoverhistorical.org/omeka/exhibits/show/19thcchildren-sclothing>.
Aries, Phillippe. Centuries of Childhood: A Social History of Family Life. Trans. Robert
Baldick. New York: Random House Inc, 1962.
Ashton, Thomas S. The Industrial Revolution (1760-1830). New York: Oxford University Press,
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