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| 26-01-2011 - Milliners (II) Aage Thaarup was a Danish milliner established in London and the first in a line of male milliners who were to dominate the second half of the twentieth century. He was self-taught and broke the established French rules of apprenticeship and gradual mastery of millinery. Having charmed the core of his high-society clientele on a voyage to India, his reputation spread quickly, and drew in ladies of the British Royal family, including the duchess of York and her daughters, Elizabeth and Margaret. pyjamas When the duchess became queen of England in 1936, Aage Thaarup was officially ※appointed by Her Royal Highness§ and later created hats for the young Queen Elizabeth as well as for the Queen Mother. Paris still dominated the millinery scene until the 1960s, when London took the lead with Otto Lucas, who established a most successful model wholesale business in Bond Street. His designers and ideas still came from Paris, but his flair for style created a chic, modern look much praised by millinery buyers on both sides of the Atlantic. Madame Paulette, his favorite designer, was the last of the grandes modistes of the Parisian school. With Claude Saint- Cyr, Jean Barthet, and Jean-Charles Brosseau, she was part of an era sadly in decline during the 1970s. At the height of her career Paulette had reigned over a much admired hat salon, with workrooms of 125 milliners and 8 vendeuses mondaines, society ladies with personal relations to important clients. Paulette created twice-yearly collections of 120 hats, presented to powerful foreign buyers as well as to her distinguished high-society clientele. Paulette＊s trademark was le chapeau mou, her draped soft turban, a sophisticated headwear for ※bad hair days,§ popular during the 1940s and 1950s. Few of her clients knew that Algerian soldiers had inspired Paulette＊s original turban design during the liberation parade on the Champs Elys谷es in 1944. Youth culture and the social liberation during the 1960s and 1970s brought a demise in the fashion for hats and with it a steep decline in business for milliners. The 1980s heralded a brief revival, which was partly due to Princess Diana, a fashion leader and icon of the British hat industry. London held on to its lead in millinery design, supported by royal patronage and social summer events like horse racing at Royal Ascot and Garden Parties at Buckingham Palace. John Boyd, Graham Smith, and the royal milliners Frederick Fox and Philip Somerville, a quartet of hat designers during the 1970s and 1980s, managed very successful model millinery as well as wholesale businesses in London. Small factories in Luton, Bedfordshire, U.K. supported manufacture, which, historically had been the center for straw hat production in the nineteenth century. Some factories, millinery supply businesses, and block makers are left in the early 2000s, but a museum has a rich collection documenting the importance of the hat trade in the past. During the 1980s, a new generation of millinery designers graduated from London＊s Fashion and Art Colleges, creating hats as pieces of art. David Shilling was the first, gaining notoriety and much press coverage with striking Ascot creations he designed and made for his mother. Mrs. Gertrude Shilling＊s entrance, wearing yet another extraordinary hat, was much anticipated and celebrated every year at Royal Ascot. Patricia Underwood was a star milliner in New York during the 1980s and 1990s, with her unmistakable style of pure shape and simplicity. New York also had Eric Javits, a very successful millinery designer, who built a multimillion-dollar business and was voted Hat Designer of the Year by the Millinery Institute of America. Millinery has also declined in the United States, but the Headwear Information Bureau (HIB) founded in New York in 1989, promotes millinery with public relations and competitions for young designers. Stephen Jones, a New Romantic of the 1980s, included men among his devoted clients, and created hats for the pop stars Boy George and Steve Strange, as well as for the Spandau Ballet. His hat salon in London＊s Covent Garden district was designed to be full of fun, wit, and unexpected details. Stephen Jones is a rebel with a romantic streak and designs an eclectic mix of very wearable fabric hats, which reflect his original training as a tailor. Apart from creating diffusion ranges under the label ※Miss Jones§ and ※Jonesboy,§ Stephen Jones works with many of the new top designers, such as Jean-Paul Gaultier, Claude Montana, and John Galliano, creating headpieces for cutting-edge catwalk shows. Philip Treacy, an internationally awarded accessory designer, graduated from London＊s Royal College of Art in 1990 and immediately hit the hot skirts headlines with his flamboyant and unmistakable hat creations, lifting millinery to an even higher level of art and design. The meteoric rise of the Irish-born young designer was also much celebrated at Parisian catwalk shows, staged by top couture houses like Dior, Chanel, and Givenchy. Philip Treacy even created his own millinery show in 1993, when supermodels paraded wearing show-stopping creations, acclaimed by the fashion press. One of his famous, much-photographed pieces was a hat with a black sailing ship, which might have been inspired by Rose Bertin＊s design in the late eighteenth century. A true and devoted lover of his craft, Philip Treacy personally makes many of his masterpieces. His label has become a status symbol and some of his celebrated hats are collector＊s pieces, treasured by museums, like the Victoria and Albert Museum in London. During the twentieth century, women＊s lives changed drastically and imposed a fast-living lifestyle not compatible with the ethos of beautiful hat creations. The twenty-first century has become a bare-headed era and glamorous hats have become ※special occasion wear,§ only worn for weddings and high-society horse races. However, it is conceivable that the next generation of young designers might reinvent millinery with a new concept and purpose. Gepost door: Camiboo op 26-01-2011 om 09:08 |
| 26-01-2011 - MILLINERS (I) The first celebrated ※Marchande de Mode,§ or ※modiste§ as they were later called in France, was Rose Bertin (1744每1813). Her name is linked with Queen Marie-Antoinette of France, the most extravagant and illfated fashion icon of the eighteenth century. It could be argued that Marie-Antoinette and her ※Ministre de Modes,§ Rose Bertin established haute couture in Paris and thus made it the capital of fine fashion. Elaborate hats, demure straw bonnets, and extravagant headdresses, called ※poufs§ were the height of fashion in the last quarter of the eighteenth century. Rose Bertin＊s witty creations were perched high up on the coiffure and featured rising suns, miniature olive trees, and, most famously, a ship in full sail. Her fame was enhanced by her notoriety and attracted an array of ladies of European nobility. Her salon survived the French Revolution but sadly all her hats, tight skirt just like her famous clients, have disappeared and can only be traced in copies of the Journal des modes, which according to the custom of the period, never mentioned or credited the designer or creator of model hats. The fashion for straw bonnets spread to the newly independent America and with it the millinery trade. Betsy Metcalf of Providence, Rhode Island, was one of the first milliners in the United States. She is said to have invented a special way of splitting locally grown oat straw, which she bleached in sulfur fumes, plaited, and sewed in spirals, creating straw bonnets intersected with fine lace and lined with silk. Having started to make hats at the age of twelve, she set the trend for new straw weaving techniques and became the founder of American millinery. The production of straw hats became an important home industry and rivaled the expensive imports of Florentine (Leghorn) straw from Italy. A bonnet that is said to be one of Betsy Metcalf＊s is in the collection of Rhode Island＊s Literary and Historical Society. During the nineteenth century, bonnets and hats were not only fashionable, but essential in any woman＊s wardrobe. Bonnets were romantic and coquettish and thus the perfect accessory for women of the era. Millinery flourished, led by a strong force of Parisian ※modistes,§ who set the tone for high fashion and demanded to be addressed reverently as ※Madame.§ Famous names were Madame Herbault, Madame Guerin, and Madame Victorine, who created Queen Victoria＊s bonnets. Society ladies expected milliners to create unique models and jealously kept their sources secret. Sadly, not many hats survived, as they were often restyled or the trimmings reused. Testimony of some exquisite creations can only be found in illustrations and pictures without the mention of the relevant designer or maker. However, as millinery thrived on both sides of the Atlantic, millinery designers established their personal creed and reputation. Caroline Reboux, at the Maison Virot, was the first legendary Parisian couture modiste, making hats for the French Empress Eug谷nie in 1868. She reputedly created individual designs by cutting and folding felt or fabric directly on the customer＊s head. Her famous salon in the rue Saint Honor谷 survived until the 1920s. Her pupil Madame Agnes became equally sought after for her experimental surrealistic styles. Elsa Schiaparelli, the Italianborn couture designer and friend of Salvador Dali, also created surreal hats in the 1930s. She unleashed her artistic talents by creating hats using newspapers, seashells, and birdcages with singing canaries. Her Shoe Hat designs of 1937, famously worn by Daisy Fellowes, editor of Harper＊s Bazaar, made headlines on both sides of the Atlantic. Gabrielle (Coco) Chanel was a milliner before she started her couture career. She established her first salon in the elegant apartment of her lover in Paris in 1910. An avant-garde fashion trend leader of her time, she created simple shapes and decorated sparingly to compliment her vision of modern dress. She is credited with the creation of the cloche hat, which, pulled down low over the new short hairstyles, was to become an all-time classic. Other famous Parisian modistes of the 1930s and 1940s included Maria Guy, Rose Valois, Suzanne Talbot, Rose Descart, Louise Bourbon, and Jeanne Lanvin, who like Chanel expanded her millinery salon into haute couture. Most couture houses, like Dior, Jean Patou, or Nina Ricci, had their own millinery ateliers, all headed by a ※Premiere§ (Designer), a ※Seconde§ (Head of Workroom), with several workrooms full of ※Petites Mains§ (workers). Millinery hierarchy had strict rules of etiquette, with La Premiere and La Seconde always addressed as ※Madame§ and the inferior workers given diminutive names like Mimi, Gigi, and Flo-Flo. Milliners working in couture houses considered themselves superior to their dressmaking colleagues. The girls had a reputation for being pretty and coquettish, were always meticulously groomed, and spent more money on lipsticks and powder than on food and rent. The industry had economic importance, with top ateliers employing up to 300 milliners each. Parisian milliners not only created hats for a selective private clientele, they also supplied a thriving wholesale export business to many stores in the United States. Lilly Dach谷, a Viennese-born, Parisian-trained milliner, settled in New York and led the way for talented American designers. Having opened her first tiny studio in 1926, Lilly Dach谷 built a millinery emporium, taking over a whole building of seven floors, with a silver room for her blonde clients and a gold one for brunettes. Her devotees included the Hollywood stars Carmen Miranda, Betty Grable, and Marlene Dietrich, who all loved her chic toques, demure snoods, and stylish ※profile hats,§ which were her trademark. Sally Victor and Mr. John of New York later took over the reign of Lilly Dach谷 and maintained the importance of American millinery design. Mr. John had been in partnership with Frederic Hirst since 1928 and established his own business in 1948. His famous clients included Marilyn Monroe, Lauren Bacall, and Mrs. Simpson, the future Duchess of Windsor. Toward the end of his career Mr. John of N.Y. collaborated with Cecil Beaton on the extravagant costumes for Audrey Hepburn in My Fair Lady. In Europe, the most white robe notable milliner of the interwar years was Adele List in Vienna, whose hats were an expression of aesthetics and art. She was a highly disciplined, austere-looking figure and created hats with masterly craftsmanship. Using felt, straws, silks, and feathers, she combined shape, proportion, and texture in a unique harmonious way, which never looked dated. Some of her intricate pieces took over fifty hours to make and had detachable necklaces built into the shapes. One devoted client collected and preserved 248 model hats created by Adele List, all preserved in individual hatboxes. After her death, the collection was donated to the Museum of Applied Art in Vienna, Austria, in 1983. Gepost door: Camiboo op 26-01-2011 om 09:06 |
| 26-01-2011 - very little important benefits For the reliant varying, mirror natural view, results pointed out a substantial key effect to get fashion buyer party although very little important benefits for gender and also the actual relationship camo shorts concerning manner purchaser team and sex. fashion adjust agents obtained larger upon mirror bodily view when compared with manner enthusiasts. Fashion change agents scored higher on vanity physical view than fashion followers. tube skirt H1b was not rejected 每 Men and women did not differ in vanity physical-appearance view. H2b was rejected 每 Fashion change agents and fashion followers differed in vanity physical-appearance view. Gepost door: Camiboo op 26-01-2011 om 09:02 |
| 26-01-2011 - Deliver in detail That scenario may well deliver in detail to get the best way quite a few fashion supporters measure purchasing just as one activity. Browsing is considered a new huge undertaking and also job that must always be done, that may be, browsing will be goal led for a specific object. The school of thought that will searching is hottest mini skirts a drag is within warfare having a basic full price beliefs of which looking must be a kind of amusement. 37 browsing because amusement generally meets this way change agents＊ view. The next situational consequence will be recognized when uninteresting. A high degree of frustration arises, presumably because the customer can be beaten down throughout require satisfaction. This situation could impact the evaluation of the shopping experience for both fashion change agents and fashion followers. Fashion change agents may evaluate the shopping experience as boring if retailers become too predictable in both product offerings and shopping environment. High frustration is then predicted to occur because the shopping experience does not alleviate the onset of boredom and short pants fails to be a satisfying experience. For consumers who approach shopping as a chore or task (e.g. Fashion followers), frustration is likely to accompany shopping when shopping environments are not designed for quickness and convenience37 and the resulting outcome is boredom. Consumers experiencing boredom with a task, such as shopping, will abandon it and dispel the boredom by ＆leaving the field＊ (i.e. The store, the mall, the shopping environment) if free to do so11 (p. 23  . If bored consumers are constrained to continue shopping (i.e. For some reason, they cannot leave the mall), boredom is likely to intensify, presumably because frustration increases. Outlets for bored consumers such as theatres, game rooms, and food courts may provide a way for them to alleviate some of their frustration. Gepost door: Camiboo op 26-01-2011 om 09:00 |
| 26-01-2011 - A number of understanding into your impact of monotony about vogue personal actions Mountain plus perkins＊s11 model of boredom presents itself to supply some understanding in to the effect involving dullness about style customer habits. The intellectual elements (e. G. Inner stimulation) and affective elements (e. G. Exterior stimulation, constraint) with dullness differentiated among personal sets. Differentiating among consumer groups based on a tendency toward experiencing boredom is important given the positive or negative outcomes predicted to result high shorts from boredom, for example, pursuit or avoidance of shopping. Shopping may serve as an activity to prevent the onset of boredom or to alleviate boredom. Fashion change agents may be motivated to go shopping for new items because they are cognitively aware that there is nothing more to be explored or discovered with items in their current wardrobe (i.e. Items are no longer affectively stimulating). Conversely, indifference may not be a new determination for way followers to travel searching. Trend followers could possibly be quite happy with present-day merchandise due to the fact you'll find nothing they're cognitively alert to that is visited or maybe identified around different things. You obstacle for suppliers could be to catch your interest with fashion supporters. In addition to offering an explanation for how both the cognitive and affective elements of boredom are likely to influence fashion consumers, hill and perkins＊s11 model of boredom seems to imply that boredom is triggered by cognitive acknowledgement of a situation followed by an emotional evaluation, the affective element. Three types of situational g string outcomes recognized in the model are associated with different degrees of emotional investment in the situation. One particular situational final result is actually recognized as helpful. Searching for different fashions can be an exercise which includes innate attention intended for way switch providers. With regard to vogue supporters, shopping as an interesting action could include a merchandise class as it pertains to participation in the favorite pastime just like athletics, reading, or even visiting concerts. Retailers who successfully appeal to these consumers may need to emphasize the activity first and the product second, for example, health clubs that sell an assortment of athletic shoes and exercise wear. However, product assortments must be arranged for ease of shopping, with minimal time spent by the consumer in finding the desired merchandise.37 one assumption to avoid is that fashion followers always find shopping an unsatisfying activity. Focus groups comprised of fashion followers might provide insight into the conditions under which they find shopping satisfying. The second situational outcome is characterized as disliked. A low degree of frustration occurs, presumably because no emotional investment was made. Gepost door: Camiboo op 26-01-2011 om 08:59 |
| 26-01-2011 - Women which often read style Mainly, females that go through style besides harper＊s bazaar were being much more reactive for you to active styles as compared by using women of most ages who learn renewable way periodicals. Twenty-four females possessing large type attention attained added enjoyment beyond acquiring outfits, consumed more of their time in search of garments, and also bought even more garments using fashion dress impulse compared to females utilizing minimized style awareness. 25 in summary, fashion change agents were found to be interested in, knowledgeable about, and involved in fashion. They paid attention to even minor changes in styles, colours, fabrics, and other fashion details. As a result, fashion change agents are likely to view shopping as a stimulating experience. In contrast to fashion change agents, fashion followers used black pants clothing as a means to demonstrate social group belonging with little or no reliance on clothing to express individuality.10 fashion followers expressed less interest in shopping than fashion change agents17 presumably because they have a lower need for mental stimulation from fashion products than fashion change agents.8 the ability to mentally generate interest or entertainment provides one means of reducing boredom.26 A propensity to pay attention to details of fashion and thereby maintain an optimal level of information flow or arousal from fashion products might result in decreased boredom. Indeed, hamilton, haier and buchsbaum27 found boredom was directly related to a lack of attention. Because of the multisensory imagery involved in fashion apparel, it is a product that is capable of generating and requiring considerable mental activity by consumers. 6 compared with fashion followers, fashion change agents＊ involvement with clothing provides a means of satisfying a need for cognitive complexity,28 a need for variety in the form of mental stimulation,7,8 or a way of achieving optimum stimulation level.9 fashion change agents were found to score higher than fashion followers on three factors related to optimum stimulation level: Arousal from change, unusual stimuli, and risk.9 Particularly, females which will understand vogue additionally harper＊s bazaar were being far more responsive in order to prevailing fashions in comparison with girls of most age groups exactly who know alternate trend periodicals. Twenty-four girls possessing big style attention received further fun outside of paying for apparel, used up more of their time in search of clothings, and also acquired extra clothing using impulse compared to girls implementing lessened form alert cognitive state. As a result, the 1st regarding 3 null hypotheses had been offered. There will be no significant difference among the four fashion groups in scores on any of the five dimensions of the boredom proneness scale. Gepost door: Camiboo op 26-01-2011 om 08:57 |
| 26-01-2011 - Manner ground breaking communicators usually are buyers Trend progressive communicators are usually consumers that not simply will be one of many earliest to look at innovative styles but admit construct y specially affect others＊ vogue choices. 8 trend followers are usually consumers that wait to purchase plus wear a new garments fashion until it really is on it is top regarding popularity. 15 trend followers in many cases are considered imitators as well as consist of the most important group of fashion goose down jacket shoppers. Research examining differences among the groups of fashion change agents supports the use of fashion products and shopping as cognitively interesting and affectively stimulating. For example, fashion innovators showed more strength of feeling about clothing and were more involved with clothing than noninnovators. 16 purchasing involvement of fashion change agents was specific to shopping for fashion products as opposed to fairisle shopping for other products.17 fashion innovators were more likely to wear clothing for a shorter period of time and to dispose of clothing for fashionability and conformity reasons than non-innovators.18 innovative communicators were more knowledgeable about clothing styles and brands, spent more on clothing, and owned more different styles of clothing than the other fashion consumer groups.19 trend alter realtors used apparel that will convey personality,,ended up thinking about way,,highly needed for keeping up by using way traits, high within way in addition to dullness • d. M. Studak along with J. Age. Contractor global record connected with personal research,,,thinking about receiving, pp每 © blackwell establishing ltd style knowledge, along with higher around acknowledgement or perhaps acceptance with visual way stimuli. They'll taken notice of various methods regarding way information, exclusively type periodicals. Dependable of means catalogues were situated that they're dependant on technique reputation. Gepost door: Camiboo op 26-01-2011 om 08:56 |
| 26-01-2011 - Bad impact Meanings including dullness require the connected with some health issues. 15 the best issue can be passage of time and also is the word for the thought that interval appears to not win it is price jacket buy relating to things to do. The second condition is a consciously recognized mental state characterized by a lack of interest in participating in an activity. Lazarus13 encouraged that will when experiencing bad over emotional baggage, persons currently make sure to produce your developing say along with decrease regardless of is certainly inducing your negative problem. In diseases regarding damaging have an impact on, for instance apathy, seeking the most effective red jacket vogue equipment generally is a dealing program which will decrease negative influence. Although boredom has not explicitly been studied in relation to fashion consumer groups, studies of the fashion groups have examined variables that are implicitly related to boredom. Fashion innovators, fashion opinion leaders, and innovative communicators are three fashion consumer groups that are collectively called fashion change agents.14 fashion innovators are consumers who are among the first to buy and wear new clothing fashions. Fashion opinion leaders legitimize a fashion innovation by giving it their approval and influencing others to adopt it. Gepost door: Camiboo op 26-01-2011 om 08:54 |
| 26-01-2011 - Fashion Innovation Definitions of boredom involve at least one of two conditions. 12 the first condition is passage of time and refers to the notion that time loses its value in relation to activities. The second condition is a consciously recognized mental state characterized by a lack of interest in participating in an activity. Lazarus13 proposed that when experiencing negative emotions, people try to improve their emotional state and alleviate whatever is causing the negative condition. Under conditions of negative affect, such as boredom, shopping for fashion products may be a coping mechanism that could alleviate negative affect. Although boredom has not explicitly been studied in relation to fashion consumer groups, studies of the fashion groups have examined variables that are implicitly related to boredom. black jacket Fashion innovators, fashion opinion leaders, and innovative communicators are three fashion consumer groups that are collectively called fashion change agents.14 fashion innovators are consumers who are among the first to buy and wear new clothing fashions. Fashion opinion leaders legitimize a fashion innovation by giving it their approval and influencing others to adopt it. Fashion innovative communicators are consumers who not only are among the first to adopt new fashions but acknowledge that they purposely influence others＊ fashion decisions.8 fashion followers are consumers who do not buy and wear a new clothing fashion until it is at its peak of acceptance.15 fashion followers are often considered imitators and comprise the largest group of fashion consumers. Research examining differences among the groups of fashion change agents supports the use of fashion products and shopping as cognitively interesting and affectively stimulating. For example, fashion innovators showed more strength of feeling about clothing and jeans jacket were more involved with clothing than noninnovators. 16 purchasing involvement of fashion change agents was specific to shopping for fashion products as opposed to shopping for other products.17 fashion innovators were more likely to wear clothing for a shorter period of time and to dispose of clothing for fashionability and conformity reasons than non-innovators.18 innovative communicators were more knowledgeable about clothing styles and brands, spent more on clothing, and owned more different styles of clothing than the other fashion consumer groups.19 style alter agents used outfits for you to convey individuality,,were being thinking about manner,,remarkably needed for using by using manner tendencies, higher within manner in addition to monotony • d. M. Studak in addition to J. Age. Contractor global diary connected with purchaser scientific studies,,,present cards, pp每 © blackwell building ltd style awareness, in addition to higher with acknowledgement as well as acclaim with visible manner stimuli. They will paid attention to numerous sources with vogue data, especially style publications. Loyal connected with manner magazines had been found that they are related to manner consciousness. Especially, women of all ages exactly who examine style as well as harper＊s bazaar were much more aware about existing styles as compared to ladies whom go through alternative style magazines. Twenty-four girls along with substantial manner knowledge received extra pleasure coming from searching for garments, used more of their time shopping for outfits, in addition to acquired extra outfits upon impulse as compared to girls using reduced manner awareness. 25 in summary, fashion change agents were found to be interested in, knowledgeable about, and involved in fashion. They paid attention to even minor changes in styles, colours, fabrics, and other fashion details. As a result, fashion change agents are likely to view shopping as a stimulating experience. In contrast to fashion change agents, fashion followers used clothing as a means to demonstrate social group belonging with little or no reliance on clothing to express individuality.10 fashion followers expressed less interest in shopping than fashion change agents17 presumably because they have a lower need for mental stimulation from fashion products than fashion change agents.8 the ability to mentally generate interest or entertainment provides one means of reducing boredom.26 A propensity to pay attention to details of fashion and thereby maintain an optimal level of information flow or arousal from fashion products might result in decreased boredom. Indeed, hamilton, haier and buchsbaum27 found boredom was directly related to a lack of attention. Because of the multisensory imagery involved in fashion apparel, it is a product that is capable of generating and requiring considerable mental activity by consumers. 6 compared with fashion followers, fashion change agents＊ involvement with clothing provides a means of satisfying a need for cognitive complexity,28 a need for variety in the form of mental stimulation,7,8 or a way of achieving optimum stimulation level.9 fashion change agents were found to score higher than fashion followers on three factors related to optimum stimulation level: Arousal from change, unusual stimuli, and risk.9 So, it might be envisioned which as a consequence of the fascination with in addition to consideration for you to style, style alter real estate agents would show any cheaper degree of boredom proneness compared to trend fans. Therefore, the first connected with several null hypotheses appeared to be offered. There will be no significant difference among the four fashion groups in scores on any of the five dimensions of the boredom proneness scale. Gepost door: Camiboo op 26-01-2011 om 08:53 |
| 26-01-2011 - Trend customer team With the depending varying, mirror actual physical worry, outcomes pointed out important key consequences intended for sex in addition to way buyer class plus a important relationships concerning varsity jacket gender along with trend customer team. girls along with manner transform real estate agents scored better about vanity natural concern when compared with gentlemen plus vogue enthusiasts. The interaction goose down parka showed that being a fashion change agent, whether man or woman, resulted in more vanity physical concern. However, for fashion followers, vanity physical concern was higher for women than for men. H1a was rejected 每 Men and women did differ in vanity physical-appearance concern. H2a was rejected 每 Fashion change agents and fashion followers differed in vanity physical-appearance concern. Gepost door: Camiboo op 26-01-2011 om 08:49 |