Does Social Class Affect Our Taste in Design?

1

Does Social Class

Affect Our Taste in Design?

BA (Hons) Surface Pattern Design

AM50003-6

Dr David Heap

Flaxman: L419

By, Zahra Akthar

AW010866

Word Count: 4,634

15/12/14

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ABSTRACT.

This report presents findings from a small-scaled research project, which aimed to explore whether

social classes in the United Kingdom (UK) affects individuals taste in design. Self-administered

questionnaires were used to gain both qualitative and quantitative data, on views of 30 participants

in the West Midlands region of England, UK.

The study recognises its limitations due to its restrictive sample size, location; and being a

undergraduate research report, completed within a limited time frame. However, the research gives

an interesting insight into the social classes and its associations with taste.

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CONTENTS.

List of Figures. 4

Introduction. 5

Literature Review.

- What is taste? 6

- Social Class. 6

- Taste in Class. 9

- Change in Design. 10

- ‘Less is More’ 10

- ‘Status Seekers’ 11

- The Four Pleasures. 12

- The ‘Aspirational’ Taste. 13

The Research Question. 15

Methodology. 15

- Self-administered questionnaires. 15

Primary Research.

- Findings. 16-18

Conclusion. 19

Bibliography. 20

Appendix.

- Consent Form. 21

- Questionnaire. 22-23

- Graphs’ 24-25

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LIST OF FIGURES.

Fig 1 - Orla Kiely home ware products. Page 6

Fig 2 - The Traditional Three. Page 7

Fig 3 - The Seven Social Classes’. Page 8

Fig 4 – Minimal Design Prada bags. Page 10

Fig 5 - Louis Vuitton Luggage. Page 11

Fig 6 - Handcrafted Embellished Cushion. Page 12

Fig 7 - Roses by Rachael Goodchild Page 13

Fig 8 - Commercial Rose Pattern. Page 13

Fig 9 - Designer Brands. Page 14

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INTRODUCTION.

This report explores whether social class in the UK has an affect over individuals taste in design.

The report begins with literature from a sociological perspective on taste. Literature includes key

theories from Bourdieu (1984) La Distinction, Velben (1961) Theory of the Leisure Class and

Packard (1960) alongside past and recent studies in similar themes reviewed in pages 6-14.

From key literature the report will then research and generate questions which will be investigated

using self-administrated questionnaire allowing both quantitative and qualitative data to be

collected, with a discussion on its strengths and limitations on page 15.

On collection of primary research findings are discussed referring back to key literature and themes

on pages 16-18 following by an evaluation on page 19.

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What is Taste?

According to sociologist Bourdieu (1984:10), taste is “…the basis of all that one has – people and

things – and all that one is for others, whereby one classifies oneself and is classified by others.”

One can argue what is considered as good taste? Bourdieu (1984) claimed that ‘good’ taste is

always considered as the ‘legitimate’ taste to society and is found amongst the higher classes.

However this view was argued by Gronow (1997:11) who states the legitimate taste pretends to be

the universally valid and an objective taste, whereas in reality it is“... nothing more than the taste of

one particular class, the ruling class.”

Because taste is something created by ourselves and is shared by all, it is constantly changing as we

discover new things. Gadamer (1975:12) states that taste can change, as it is something we

“adopted by learning." Therefor taste in design is continually changing regardless of one’s social

standing.

In this report taste will be looked in design

context of surface decoration and pattern, as

described by the University of Art London

(2014) as "...pattern decoration used in a wide

range of products including textile, ceramics

and wrapping paper." For example, products

designed by Orla Kiely (Figure 1).

Fig 1 – Orla Kiely homeware products.

Social Class.

In the past social class (SC) was defined by an individual’s occupation, wealth and education.

However, recent research conducted by the British Broadcasting Cooperation (BBC) in partnership

with six universities called the Great British Class Survey (2013) (GBCS) shows; the UK was made

up of seven SC’s (figure 3) as compared to the traditional three classes (figure 2) upper, middle and

working class. The study measures social class based on individuals economic, social and cultural

interests. The findings from GBCS (2013) can be applied to the wider society as 161,000 people

participated in the survey, making it the largest class study in the UK.

The seven social classes identified by the GBCS are from the elite at the very top, to the precariat

"...the poor, precarious proletariat.” at the bottom, BBC (2013) the elite are described as "the most

privileged group in the UK" making this social group the highest in all three capitals; economic,

social and cultural. The established middle class is identified as the second wealthiest followed by

the technical middle class as the new small, distinctive class group.

The affluent workers are also identified as the new and young class group, which have high levels

in social and cultural capital. The traditional working class are low on all forms of capital but is

identified as "...not completely deprived." The emergent service workers are a young urban group,

which is relatively poor but have a high social and cultural capital. The lowest social group is the

Precariat, the poorest and the most deprived.

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\

Fig 2 – Traditional Three -

Upper, Middle and Working Class

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Fig 3 – The Seven Social Classes’.

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Taste in Class.

Chan and Goldthorpe (2007:169) highlight how individuals in higher social classes "...prefer and

predominately consume 'high' or 'elite' culture." Compared to individuals who are in lower social

classes who "...consume 'popular' or 'mass' culture." This view can be argued as social class in the

UK has evidently changed as shown by the GBCS (2013) more social classes are considered to be

'higher' compared to the traditional three classes. Therefor lower social classes now aspire to

consume high or elite culture. Taking into account Gadamer (1975) view of taste is something that

is constantly changing regardless of someone's social standing; therefore social class can be over

looked when looking at ones taste in design.

Deeming (2014) discusses how work by Bourdieu (1984:2) La Distinction examines the role and

function of social necessity in the working class culture. Bourdieu claims that working class's

choice is made out of social necessity and their lifestyles follows the"...aesthetics of necessity." not

personal choice.

This view compared to the recent class survey can suggest the new defined working class is not the

same as the working class in Bourdieu’s study. The GBCS (2013) defines the working class as a

class which is not completely deprived to have their choices completely forced, as found by

Bourdieu (1984) as social class is now measured using ones interests not wealth.

Deeming (2014:4) found significant amount of working classes liked good home decor. Atkinson

and Bradley (2013) suggested that as the home occupies an important place in working class

culture, this impacts working class families as they take great pride in their home appearance.

Townsend (1979) stated that the working class claim to replace old and worn furniture reflecting a

"...desire to keep place with rising living standards." This echo’s Veblen (1961) theory of how

people tend buy products to show there efforts to climb up the social ladder, in this case the

working class are often refurbishing their homes to show this. In reflection to the GBCS (2013) this

view is a clear example that social classes are adapting and changing along with their tastes in

design.

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Change in Design.

Bourdieu (1984:35) found that as a new middle class were emerging they began to share similar

interests as the upper class. Ewen (1984:33) shared similar findings and further suggested that in the

1830s a process began in which the design industry came to denote the decoration of the surface

"…with ornaments and other adornments” This meaning manufactures would split the process of

(a) designing a product and (b) designing its decoration; in order to apply a different surface

decoration to suit a particular market.

This suggests manufacturers designed differently for a suited class, supporting the idea of choosing

products that reflects an individual’s status and taste. This further shows taste in the 1980s could

have been influenced by cultural and social interests, as these are the factors which now contribute

towards an individual’s social class.

‘Less is More’ The view that ‘less is more’ is chosen by the upper classes. (Figure 4)

Williams (2000:35) stated that luxury buyers adore brands such as ‘Prada’ as they understand and

appreciate the concept of “…unadorned simplicity and elite design...” Williams (2000) further

states that Prada customers are ‘connoisseurs’ which is defined as, individuals who have expert

judge in matters of taste, therefore making the luxury buyer recognise that ‘less is more’ in context

of design.

Fig 4 – Minimal Design bags by Prada.

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‘Status Seekers’

The term ‘Status Seekers’ was created by Packard (1960:32) a sociologist whose views mirrored the

Fortune magazine in the 1950s. They argue that as people are worried about what others think of

their status and as a result they seek status by (a) expressing their personalities through symbols

"...mannerisms, dress, ornaments, property. " rather than words. (b) Buying objects that symbolise

their efforts of climbing up the social ladder.

William (2000:32) states products chosen by people are brought to show society "...how wealthy,

tasteful and important they feel they are..." further states people tend to buy luxuries to "...show the

world status." This echoes the term by Packard (1960) of 'status seekers' which furthermore

continues to reflect views of Velben (1961) of people buying products to "...establish their place in

a social hierarchy."

Velben (1961) states people value wealth and money, which made him to conclude that the more

expensive, an object is the more desirable it is considered. This view is also mirrored by Williams

(2000:32) who discusses Louis Vuitton's luggage (figure 5) gives of a visual language "...the LV

monogram is an instant indicator of refinement and taste, the gold embossing and leather speak of

craftsmanship and quality." Furthermore these values are recognised world-wide and are a "...code-

carried and worn by luxury lovers and status-seekers everywhere."

Fig 5- Louis Vuitton Luggage.

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The Four Pleasures.

Jordan (2002:13) Designing Pleasurable Products states that there are four pleasures which can

affect our taste in design. First being Physio-pleasure which is described as being connected to the

body “…touch, taste and smell as well as feelings …” for example see figure 6, a hand embellished

cushion which gives a textural feeling to the product.

Secondly being Socio-pleasure which is derived from the relationship with others. Jordon (2002:13)

states this includes individual’s relationship with society as a whole “…issues such as status and

image…” As different people have different attitudes towards status, Jordon (2002:13) states any

kind of product has the potential to be a status symbol. Furthermore Jordon (2002) states

“…materials, finishing’s and product decoration are used as means of adding status…” to a

product. This reflects findings from Bourdieu and Ewen (1984), which suggested manufactures,

began to separate the process of designing the product to its surface decoration, in order to add

different surfaces for specific target markets. Furthermore this reflects the views of Packard (1961)

and Fortune magazine (1950) stating products are brought to show society status.

Fig 6 – Handcrafted Embellished Cushion.

The third pleasure described by Jordon (2002:14) is

Psyco-pleasure which affects a person’s cognitive and

emotional reactions and issues relating to cognitive

demands.

Lastly is Ideo-pleasure which affects people values. Tiger

(1992) refers to ideo pleasure as ‘theoretical’ values such

as “…music, books and art.” Jordon (2002:14) gives an

example of how products made from biodegradable

materials might be seen as representing the values of

environmental responsibility this value, “…would be a

potential source of ideo-pleasure..." to those who are

particularly concerned about the environment issues.

Jordon (2002:18) further states personal ideologies may

influence individual’s aesthetics which people appreciate

in design. An example given, a person may have an

ideology which emphasises minimalism and purity. This

ideology than “…affects the person’s choice to be

inclined to choose a minimal design...”

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The 'Aspirational' Taste.

Personal aspirations can also affect an individual’s taste in design.

For example if a person is “…aspired to think of himself or herself with a sophisticated

appreciation of design…” then they will prefer the more interestingly style in design. Jordon

(2002:81) Looking at these two floral patterns for giftwrap (figure 7) is a design by Rachael

Goodchild who takes a more stylish approach to the design, compared to a more commercial design

(figure 8) which takes a more obvious approach to the design . This mirrors the views of Giddens

and Beck (2007) stating people purchase products to “…form or recreate their own identities…” in

society.

Fig 7 - Roses by Rachael Goodchild Fig 8 - Roses Commercial Pattern

An identity that has claimed to be stolen in past was by Bourdieu (1984) who stated the upper

classes tastes and interests were being closely taken over by the new formed middle classes. This

may suggest the upper-class may now choose specific designs that are identifiable as the 'higher' or

'elite' taste in order to recreate their class identity. Looking previously at Williams (2000) view that

‘less is more’ people may choose this style of design to show they are consumers who are

‘connoisseurs’ and recognise luxury products.

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Gustafson (2013) article on ‘Middle Class - Buying Luxury again’ states how there have been a rise

with the return of the “…aspirational shopper.” Described as someone whose income isn't as high

enough to make them the luxury buyer but still has a "...appetite for designer..." products. This

portrays the new SC system in the UK. As SC is now measured taking into account peoples cultural

and social interests, not just wealth. This linking back to Gustafson (2013) views on the

‘aspirational shopper’ portrays a person’s social class doesn't affect their taste, as they can aspire

designer products regardless of their social standing.

Fig 9 –Designer Brands.

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The Research Question.

Literature has shown studies and theories which support the argument social class does affect ones

taste in design. Readings from Williams (2000) Packard (1960) Velben (1961) argue that

individuals purchase products to show society their status. However as the social class in the UK

has now changed GBCS (2013) research will find out whether individuals still do this.

Questions will be set out to research out two areas (a) whether individual’s still purchase products

that reflect their social status and whether buying expensive products affects how they are seen in

society (b) whether others factors contribute towards individuals taste in design.

Methodology.

After using a combination of secondary sources this report will now progress onto primary research.

By undertaking appropriate methodology the key aim of primary research is to "...discover answers

to questions...find out the truth which is hidden and has not been discovered yet." Kothari (2004:2)

There are many research methods which can be used to answer “does social class affect our taste in

design” as this question is a nature of social sciences using methodology that finds meaning and

motives and “…the reasons for human behavior (i.e., why people think or do certain things)…”

will be essential Kothari (2004:2)

Self – Administrated Questionnaires.

The research method self – administrated questionnaire (SAQ) will allow the respondent to write

about their views and comments on a topic, this will allow researchers to learn“…exactly how each

person feels and thinks about a topic or design.” Laurel (2003) this research method will be ideal

as respondents can write about their choices and tastes in design and if they think their social class

affects it.

SAQ also have fewer ethical problems, as the researcher can’t influence the participant like with

one-to-one interviews Mitchel & Jolley (1988). Using self-administered questionnaires allows the

researcher to gain a wider response, which will be ideal as it can represent the new social classes’ as

found with the Great British Class Survey (2013)

As this report is done over a short period of time, SAQ will be quick and easy to gain honest

findings from a large sample size Mitchell & Jolley (1988) compared with interviews, which are

time consuming and will be limited to find respondents that represent all the seven social classes’

GBCS (2013)

Gaining qualitative responses with SAQ will allow the researcher to“…pin down the details of the

research.” and will find meanings whereas; a standard questionnaire would generate only statistical

findings, rather than in depth answers Laurel (2003)

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Findings.’

Primary research was set out to answer the research question “Does Social Class Affect Our Taste

in Design.” 30 participants took part using self – administrated questionnaires allowing both

qualitative and quantitative data to be collected. Quantitative data identified which factors were the

most popular that affected ones choice in design. Qualitative information found in-depth views and

opinions on participants’ and their views on whether social class affected their taste in design.

The first question was generated by the statement by sociologist Velben (1961) who claimed

individuals buy objects to reflect their efforts to climb the social ladder.

“Research shows people buy products to reflect their social class. Do you feel this applies to

you?”

Research found only 3/30 participants did this. Director 36, stated “I buy products based on need.

However I have noticed as my income has increased the product choice has also increased i.e. the

products I now buy are more expensive…” This echo’s Veblen (1961) theory of how people buy

products to reflect their efforts to climb up the social

ladder, in this case this participant now tends to buy

expensive products. In reflection to the GBCS (2013) this

is a clear example that social classes are adapting and

changing along with their tastes in design.

The findings further support the views of Goldthorpe

(2007) who states higher/upper classes predominantly

consume ‘high’ or ‘elite culture’ which supports the view

social class does affect ones taste in design.

Make Up Artist 30, stated “I think it depends what the product is for example, if I was to have new

products or equipment for my business this means I want not just want good outcomes but also want

a reputable image in society.” This reflects the view of having ‘good taste’ in society will be

accepted by the majority. Bourdieu (1984) stated that good taste is considered as the legitimate taste

to society. This further supports the statement social class does affect taste in design as this

participant in particular shows purchasing the ‘good’ products gives an individual a ‘reputable’

image in society. However this can be argued as everyone’s taste is unique and is constantly

changing Gadamer (1975) For example, if the individuals job role changes they will no longer

purchase the same products and will therefore discover other things.

However research found that not all participants agreed social class has affected their product

choice. Family Support Worker 31, stated “… I buy things accordingly to my taste/preferences. If a

product I like is expensive or cheap I purchase it regardless.” Design Student 21, stated “…when I

buy products I personally look at the visual appearance of the product rather than its value.” This

refers back to Jordon (2002) who states an individual’s personal interests and ideologies take into

account when purchasing products rather than ones social status.

As any product has the potential to be a status symbol in society, Jordon (2002) Social Work

Student 23, however states “… I don’t buy things to fit in.” This suggests social image doesn’t

affect individuals taste preferences, as they don’t feel the need to purchase products to ‘fit in’

society. Referring back to the new identified SC by the GBCS (2013) individuals knower days for

example may not feel the need to buy products to ‘fit it’ anymore as their interests contribute

towards their class not what they buy.

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The second question asked was “Do you think purchasing expensive products affects the way

people perceive you? 29 participants agreed with the statement buying expensive products do affect

how people are perceived. Social Work Student 23,

stated “…if I purchase expensive things particularly

designer products I’m seen as having upper class

taste.” This reflects Bourdieu (1984) theory of a new

middle class share similar interests and tastes as the

upper classes.

Purchasing expensive or designer products could add

value to one’s social status which further reflects the

term ‘status seekers’ which could be core motive in

many participants from the lower classes such as the

Precariat identified by the GBCS (2013) however no participants from this social class were found

to take part therefore evidence cannot fully support this view.

Director 36, responded to the question with“…it depends on the brand.” This statement echoes the

view of William (2000) who states certain brands such as ‘Louis Vuitton’ gives of a visual language

in society and has values which are recongnised worldwide through a code-carried by status

seekers.

Trainee Teacher 27, states “Yes absolutely! More and more people judge others on their lifestyles

and what they buy.” This again supports William (2000) views on how designer products are an

instant indicator of luxury which may be used as products to symbolise status in society.

However one participant Sewing Tailor 44, stated purchasing expensive products shouldn’t really

affect the way others are perceived“… at the end everyone has different tastes and choices which

are individual and shouldn’t be labelled by society.” This links back to the views by Gadamer

(1975) stating SC’s and their taste shouldn’t be measurable as individual’s taste preferences are

always changing, as individuals learn and discover new things.

Question three asked “If you have, or aspire to purchase Designer products which of the

following thoughts do you most consider.” The information collected showed ‘style’ was the most

important factor amongst the 30 participants followed by designer, personal appearance, price and

pattern as the second most important.

Style was chosen as the most important; this could be as style is something that can be shown to

society as having ‘good taste’ Bourdieu (1984). Furthermore as any product has the potential of

being a status symbol, this may be why

participants have chosen style as the

most important factor to influence

design. Jordon (2002)

However as this research has limited

participants these findings aren’t

generalisable to the majority of the

population in the UK GBCS (2013)

therefore style may not have been

important factor once taken this research

question to a larger sample size.

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The last question asked participants “What are the main factors that affect your choice in

purchasing a product.” Research found colour and pattern were the two main factors, this shows

individuals personal ideologies affect their taste in products more than social image Jordon (2002)

As colour and pattern were the most

important factors this may because findings

from Bourdieu and Ewen (1984) suggested

the design industry in the 1830s paid more

attention to the surface of the product, which

allowed and influenced individuals to choose

products with a particular surface that

reflected their status and taste.

Compared to question three where personal

appearance was considered as second most

important factor. This shows purchasing

designer products adds value to ones status in

society. This linking back to William (2000) views that designer products such as ‘Louis Vuitton’

have a code carried that gives society a visual language of refinement, taste and quality.

Furthermore this reflects the description of individuals who wear designer brands to ‘seek’ luxury

and status. Additionally this could suggest why participants have chosen personal appearance as the

second most important factor as buying expensive products gives society and individuals around

them the impression they have a good ‘refined’ taste.

Putting participants into SC’s, found majority of the participants were from the SC’s defined by the

GBCS (2013) as emergent service workers (5), the new affluent workers (21) and the established

middle class (4). This shows this study isn’t representative of all the social classes and therefor isn’t

eligible to fully compare and contrast preferences between each social class. In order for this study

to be generalisable research in the future should take into account all seven SC’s as this will make

the report more valid and reliable and applicable to society as a whole such as the Great British

Class Survey (2013)

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Conclusion.

Taking both primary and secondary research into consideration there is much information to

support the argument, social class no longer affects ones taste in design.

Primary research found participants 27/30 didn’t see their social status to influence their taste in

design. This suggests individuals knower days don’t feel the need to purchase products to ‘fit in’

society, as their interests and personal ideologies contribute more towards their taste in design, not

what they purchase. The second question however found evidence of 29/30 participants stating

expensive products do affect the way individuals are perceived. This supports the view that buying

certain products adds value to one’s social status and to an extent supports the statement social class

does affect ones taste in design. Question three found participants choosing ‘style’ as the more

important factor to contribute towards buying a designer product; this could be as style is something

that can be shown to society as a symbol of having ‘good’ taste and therefore contributes towards

social class and taste. The last question asked participants what they thought was the most important

factor when purchasing a product. Research found colour and pattern were the most significant

factors which shared similar findings as question one, individuals personal interests and ideologies

are taken more into account, when looking at what mostly affects taste in design.

Overall research supports social class no longer affects ones taste in design. In today’s society

individuals no longer feel the need to ‘fit in’ as the ones personal ideologies and interests are

evident to be more significant factors to inform their taste in design. Furthermore as social class in

the UK is measured by taking into account ones interests, individuals can now be viewed as having

the ‘aspirational’ taste in society, rather than been seen as ‘seeking’ status.

In conclusion as taste is created by ourselves it will be influenced and changed as we learn, discover

and inform our personal ideologies. Therefore, taste in design will continuously change regardless

of one’s social class.

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Bibliography.

Atkinson, W and Bradley, H. (2013), “Ordinary lives in contemporary Britain: a preliminary report

of findings”, Working paper No. 08-13, School of Sociology, Politics and

International Studies, University of Bristol, Bristol.

BBC.co.uk, (2013). Huge survey reveals seven social classes in UK. [online] Available at:

http://Huge survey reveals seven social classes in UK [Accessed 6 Nov. 2014]

Beck, U. (1992). Risk Society: Towards a New Modernity. London: Sage.

Bourdieu, P. (1979) La Distinction: critique social du judgment, Paris: Editions de Minuit:

Chan, T. and Goldthorpe, J. (2006). Social Stratification and Cultural Consumption: Music in

England. [online] http://users.ox.ac.uk/. Available at:

http://users.ox.ac.uk/~sfos0006/papers/esr2007.pdf [Accessed 11 Nov. 2014].

Deeming, C. (2014). The choice of the necessary: class, tastes and lifestyles: The choice of the

necessary: class, tastes and lifestyles: International Journal of Sociology and Social Policy: Vol 34,

No 7/8. [online] Emeraldinsight.com. Available at:

http://www.emeraldinsight.com/doi/abs/10.1108/IJSSP-03-2013-0039 [Accessed 10 Nov. 2014].

Giddens, A. (1991). Modernity and Self-identity: Self and Society in the Late Modern Age.

Cambridge: Polity.

Gronow, J., 1997. The Sociology of Taste, New York: London: Routledge.

Gustafson, K. (2013) Middle class buying luxury again—but at a bargain. [Online] Available from:

http://www.cnbc.com/id/101262672 [Accessed: 10th October 2014.]

Jordan, P.W, 2002. Designing Pleasurable Products: An Introduction to the New Human Factors.

CRC Press: Florida.

Kothari, C. (2004). Research methodology. New Delhi: New Age International (P) Ltd.

Laure, B. (2003). Design Research: Methods and Perspectives. London, England: The MIT Press.

Mitchell, M. and Jolley, J. (1988). Research Design explained. New York: Holt, Rinehart and

Winston.

University of the Arts London. (2014) BA (Hons) Surface Pattern Design [Online] Available from:

http://www.arts.ac.uk/lcc/courses/undergraduate/ba-hons-surface-pattern-design/ [Accessed 13ith

October 2014.]

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Consent Form.

Consent Form

My name is Zahra Akthar I am currently studying BA (HONS) Surface

Pattern Design at Staffordshire University. As part of my third year I am

conducting a report answering the question “Does Social Class Affect

Our Taste in Design” To do this I need to undertake first hand research to

develop an understanding for my report. I would appreciate your

involvement however if you wish to withdraw yourself from this research

at any time I will fully understand. If you feel uncomfortable answering

any questions you may leave them out. The information collected will

only be used as a part of this report, and will be treated with

confidentially.

Thank you for you co-operation.

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Questionnaire.

Does Social Class Affect Your

Taste in Design?

Occupation: - ______________________________________

Gender: - ________________ Age: - __________________

1) Research shows people buy products to reflect their social status. Do you

feel this applies to you? Please explain your answer.

_______________________________________________________________________________

_______________________________________________________________________________

_______________________________________________________________________________

_______________________________________________________________________________

_______________________________________________________________________________

_______________________________________________________________________________

2) Do you think purchasing expensive products affects the way people

perceive you? Please explain your answer.

__________________________________________________________________

__________________________________________________________________

__________________________________________________________________

__________________________________________________________ ________

__________________________________________________________________

__________________________________________________________________

3) I f you have, or aspire to purchase designer products which of the

following thoughts do you most consider? Please rate your answer (1 being most

important and 10 being the least important.)

Designer [ ] Colour [ ]

Pattern [ ] Currently in Trend [ ]

Style [ ] Price [ ]

Texture [ ] Personal Appearance [ ]

Material [ ] Shop [ ] Other : - _________________________________

Please turn over.

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Graphs’

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