Factors Underlying Fabric Perception

The above suggests ‘oral texture’ as a method of communication or ‘ideal and emotive novelisation’, a utopian standard of image and self-transformation, set by the fashion, textiles and lifestyle perception makers. It is a system that has been used to sell or seduce magazines (imagery and supporting text) to the reader (wearer) since the late 19 Century and blurred into the realms of retail sales and marketing, especially on-line. Society understands and indulges in this method of aesthetic communication, and for women, it is meant to represent ‘women’s mass culture’. [Naomi Wolf] This paper describes two fabric-touch experiments where the term ‘oral texture’ applies in the collection of adjectives and metaphors (fabric perceptions). The purpose of this study was to qualitatively record subjective responses to familiar fabrics, using a Repertory Grid (factor analysis) model , to preliminary establish subjective and objective responses to fabrics, and through analysis, the factors underlying fabric perception and discrimination between fabric ‘types’. 10 fabrics were selected. Each subject evaluated fabrics using their index finger in a forward and backward motion, with visual observation. The experiment was carried out in three phases. The first experiment was used as a Pilot Study. Data was assembled from 1 experienced textile/fashion professional/academic. The second round of data was assembled from 20 female subjects who are currently 1 year fashion and textile design students. Through the experience of the pilot experiment, it was found that these qualitative responses were split into two categories, 1. Surface Texture and, 2. Emotional/Cognitive/Mood associations. After analysis, principal factors for each category evolved. These factors were then labelled. Results are summarised and discussed. Figure 1. Finger Pinch Using the “experiment” experience, the students were than asked to select their own fabric of choice and evaluate it in a similar manner (this was not limited to evaluation by index finger, as the experimenter was not present. After discussion it was found that the method of multiple finger pinch, as illustrated in Figure 1 was primarily used, it being the most natural method of touch next to ‘touch-stroke’ (see Figure 9) . Qualitative data was collected, as before. They were then asked to visually respond in a “virtual” manner by creating a “mood board” using Adobe PhotoShop (a combination of selective imagery related to texture, colour and style, evoking emotion and memory). This work is also discussed and some examples are shown later on in the paper.