Tag: fabric

FASH455 Exclusive Interview with Mikayla DuBreuil about Technical Apparel Design and Sourcing

About Mikayla DuBreuil

Hello, my name is Mikayla DuBreuil, and my passion is to bring designers’ creative visions to life. I have a diverse background in apparel design, from intimates and compression wear to dresses and jeans, and everything in between! My resume consists of technical design positions at Under Armour, Marena, Anthropologie (URBN), Lee & Wrangler, and, most recently, SPIRIT HALLOWEEN.

Above all, my joy in apparel design lies in pattern-making. Designers are the artists, and pattern makers are the engineers who bring their designs to life. I love problem-solving to create fantastical designs and reduce physical sampling. Most of my work is in CAD 3D software, specifically CLO 3D. I am also a certified super user in the 3D CAD software, Vstitcher, and experienced in the 2D CAD patterning software, Accumark and Optitex.

Note: Mikayla Dubreuil graduated from the University of Delaware (UD) with a Master of Science in Fashion and Apparel Studies. She also graduated from UD with a Bachelor’s Science in Apparel Design in 2018. She received the International Textiles and Apparel (ITAA) Sara Douglas Fellowship for Professional Promise-Masters in 2019. Mikayla’s master’s thesis Traditional vs. big-data fashion trend forecasting: An examination using WGSN and EDITED was published in the International Journal of Fashion Design, Technology and Education and have been cited by more than 100 other scholarly papers.  

Sheng: What are your main responsibilities as a technical designer? Can you walk us through your typical day? Also, what makes you love your job?

Mikayla: A technical designer’s job is to ensure the proper execution of fit and construction of a garment to meet the designer’s & buyers’ expectations whilst keeping cost in mind.

This involves creating detailed tech packs with key measurements, i.e., specs like waist, front neck drop, across shoulder, sweep, and front length from high point shoulder, measuring garments, conducting fittings on a live fit model, and submitting fit comments. A common technical design goal is to approve a design with as few physical samples as possible.

Some technical designers’ responsibilities are more rooted in construction and creating tech packs, whilst others focus on fit.

However, in my opinion, the best technical designers have a strong pattern-making and construction background. By having a strong pattern-making and construction background, technical designers (TDs) can communicate to designers what silhouettes and constructions are feasible. In this manner, TDs can find creative solutions to execute the designer’s vision and improve fit.

As an Associate 3D Technical designer, my typical day consists of taking design set-ups/hand-offs, pattern making the designs in CLO 3D, and attending buyer review meetings.

I love my job at Spirit Halloween because I can build garments in 3D, both bringing the designer’s vision to life and improving sustainability by reducing sampling. I also have an incredible manager, which is very important.

Sheng: How does a technical designer collaborate with the sourcing department, and in what ways does your work influence sourcing decisions?

Mikayla: To preface, the sourcing department is responsible for deciding what fabrics and trims will go into the garment.

Technical designers collaborate with the sourcing department or buyers by recommending ideal fabrics to achieve the desired look of a garment. For example, for a bodysuit, technical design would recommend a stretch knit fabrication. TDs affect sourcing decisions by providing knowledge on how the garment will execute in the desired fabric.

Ultimately, it is often sourcing/design/buying’s decision—the call varies from company to company—to choose the fabric. Ultimately, technical design commonly doesn’t make the call on what fabric is used.

This impacts our work because technical designers will base their specs and patterns on the fabric and desired silhouette. For example, a stretch denim pant would have smaller specs than a non-stretch denim pant since the stretch denim has more ease.

Further, the sourcing department affects our TDs’ work because it determines which vendor is making the garment. As a result, this affects our decision on whether to make the pattern internally or externally, based on the vendor’s expertise & capabilities.

Sheng: Our students are particularly interested in fabric sourcing. From your experience, what factors do fashion companies weigh most heavily when selecting fabrics, and how do these influence design and production decisions?

Mikayla: Cost. Cost and fabric drape.

However, designers and technical designers can push back if a lower-cost option is executing poorly. Buyers can make the decision to increase the retail price to meet initial markup goals to accommodate higher fabric costs.

Alternatively, the team may choose to use the low-cost fabric option in a less high-profile area of the garment and spend more on a high-quality fabric in a statement area of the garment.

On a separate note, if there is liability fabric, i.e., extra fabric that is not being used, buyers often reallocate the fabric to a different or new silhouette.

Sustainability is also at the forefront of mind, especially at denim brands. There is a shift to move towards recycled cotton.

Sheng: Many fashion companies are incorporating “preferred sustainable fibers” such as recycled, organic, or regenerative materials. From your perspective, what are the opportunities and challenges in integrating these fibers into apparel?

Mikayla:Cost and fit are both challenges in integrating these fibers into apparel. For example, many consumers want stretch in denim jeans, but it can be difficult to achieve that effect when switching to certain “preferred sustainable fibers”.

Additionally, it’s difficult to source a “sustainable” faux fur for a teddy bear costume. The plush material is so specific, resulting in a lack of sustainable choices.

One opportunity is using fabrics that are composed of a single fiber. Fabrics with fiber blends are much more difficult to recycle. A lot of opportunities are available to the consumer! Buy fewer and higher-quality items. Wear clothes more than once before washing.

Sheng: Looking ahead, what industry trends will you be keeping a close eye on in the next 1-2 years, and why?

Mikayla: Tariffs!! Tariffs impact our ability to source and distribute our garments. Also, pop culture matters, since many want to dress up as the latest phenoms!

Sheng: Reflecting on your time at UD and in FASH, what experiences helped prepare you for your career? What advice would you give to current students as they plan their career paths?

Mikayla:Think about what you want and your goals. I am so glad that I attended the FASH Grad program, which gave me exposure to CLO 3D and ultimately led to my current role. While I was at UD, I was proactive by working with professors on projects that gave me industry visibility. For example, I worked on an Optitex project that allowed me to attend a training at the Under Armour HQ, which helped me earn a spot as a technical design intern and catapult my career.

–The End–

FASH455 Exclusive Interview with Ally Botwinick, Textile Assistant at The Kasper Group, about Textile Raw material Sourcing and Management

About Ally Botwinick

Hi! My name is Ally Botwinick, and I am a University of Delaware alum who studied Fashion Merchandising and completed the 4+1 master’s program in Fashion and Apparel Studies. I am currently working as a Textile Assistant at The Kasper Group in NYC. The Kasper Group is a portfolio of global fashion brands such as Nine West, Anne Klein, Kasper, Le Suit, and Jones New York. I work on fabric sourcing and production for the Jones New York brand as well as denim fabrics for all brands within the Kasper Group.

Note: During her studies in the FASH 4+1 program, Ally participated in several research and experiential learning projects. She co-authored Explore PVH Corporation’s Evolving Apparel Sourcing Strategies, published in Just-style, a leading industry publication focusing on apparel trade and sourcing. Her master’s thesis, which examined US retailers’ merchandising strategies for clothing made from recycled textile materials, was published in the International Journal of Fashion Design, Technology, and Education. Ally was also a UD summer scholar and a key member of the FASH students team that helped Macy’s develop a vision of its sustainable apparel sourcing strategy (see featured UDaily story and Yahoo).  Additionally,  Ally was a policy intern for the American Apparel and Footwear Association (AAFA) in Washington, D.C. in the summer of 2022.

Disclaimer: The views expressed in this interview are those of Ally Botwinick and do not reflect the views or positions of her employer or any affiliated organizations.

Sheng: What are your main responsibilities as a textile assistant? What does a typical day look like? What aspects of the job do you find particularly interesting or unexpected before taking on the role?

Ally: My main responsibility as a Textile Assistant is to help buy and keep track of all fabric orders for Jones New York as well as denim for multiple brands within the Kasper Group. Jones New York has both a mainline division, which is sold at retailers such as Macy’s and Dillard’s, as well as an off-price division called Jones New York Signature which is sold at off-price retailers such as TJ Maxx, Marshall’s, Burlington, Ross, etc..

During a typical day, I communicate with textile mills/factories overseas about fabric approvals or rejections based on fabric color, quality, and hand feel. For each fabric order that we place, we have the mills submit fabric references to our New York office for review. Each morning, I process these submissions and work with my team to release comments to the mills. The color must match the color standard we send them at the beginning of production. The fabric quality must match the fabric standard that we approved upon booking the fabric.

We keep track of all these approvals and rejections in what is called a fabric WIP (work in progress) chart, where we keep track of each order for each season and division. This WIP chart includes key fabric information, price, production timelines, and fabric submit status, among other order details. Creating and updating these fabric WIPs is something I do continuously throughout the day as I receive updates from mills and factories.

I frequently work with cross-functional partners, like members of the design, production, costing, and color teams, and touch base about any changes to design boards, production schedules, costing, or color issues that may arise.

One of the most interesting aspects of the job is the number of teams that collaborate on a daily basis, especially when there are updates made to the fashion collection, such as changes to color names, production units, production schedules, fabric details, and costs.

Sheng: In general, what factors should be considered when selecting textile raw materials, such as fabrics, in product development and sourcing?

Ally:Some important factors to consider when selecting fabrics are hand feel (whether the fabric feels soft, dry, smooth, rough, etc…) and price.  We want to ensure the fabric provides comfort to the consumer and that it will drape well according to the garment design. We work very closely with the design and costing teams when sourcing fabrics as we must ensure fabrics are functional, stylish, on-brand, and meet margin goals.

We highly consider the fiber content as well. Fiber costs can be influenced by a multitude of factors, even including the weather or occurrence of natural disasters which can affect supply and demand. We also closely monitor cotton traceability as there are forced labor concerns with cotton grown in parts of China. We require each mill supplying fabrics made with cotton to submit a cotton traceability certificate for us to track the cotton’s origins. This way, we can ensure no cotton is being produced in association with forced labor.

Sheng: What are the main processes involved in selecting and sourcing textile raw materials like fabrics?

Ally:At my company, the Fabric Research & Development team is more involved in finding new fabrics, whereas my team is more involved in fabric buying and production. The design and R&D team usually hand off the desired fabrics to us after sourcing, and we go ahead and buy the fabric. We buy fabric yardage according to the number of units (garments) in the collection, accounting for the different sizes and colorways.

However, we do occasionally get involved in the sourcing aspect as well. When we source fabrics, we consider the factors I mentioned such as cost, quality, and fiber content. We also think about how we may want to elevate and bring newness to the brand.

When adding certain washes or finishes to fabrics, the appearance can change, so this is something we consider as well. When purchasing a new novelty fabric such as a new jacquard, velour, or cross-dye, we expect the mill to tell us if there is a certain inherent characteristic we should know about prior to booking. For example, a mill might tell us the fabric is known to flare a bit, and this is hard to control, or it tends to shrink a little when washing. This way, we can decide whether the fabric is acceptable based on our needs. If we decide to purchase, we then collaborate with internal cross-functional partners about creating a level of tolerance accounting for these inherent characteristics.

Upon booking any fabric, we always require mills to fill out a fabric detail sheet with information such as cuttable width, weight, price, MOQ (minimum order quantity), lead time, etc… and we have them send us a fabric header which becomes our fabric standard. The design team will also request a sample garment to ensure the fabric is suitable for the garment. All these processes are essential for booking fabric.

Sheng: Where do textile raw materials typically come from, or which countries or regions mostly supply textile raw materials for US fashion companies today?

Ally:Some of the top countries supplying fabric for U.S. fashion companies include China, Vietnam, South Korea, and India. Also, from my observation, Asia plays a significant role as a leading textile raw material supplier for many leading U.S. apparel brands and retailers.

Sheng: From your observation, how has sustainability influenced the selection and sourcing of textile materials for fashion companies? What emerging trends are worth watching?

Ally:From my observation, sustainability is becoming more and more important to brands and consumers alike. Recycled polyester is on the rise as more consumers are paying attention to the materials in their clothing and trying to lessen their environmental impact. Recycled polyester seems easier to incorporate rather than, say, recycled cotton, which is harder to trace back to the source and has quality concerns. I see recycled materials on the rise in my company, and as someone who wrote my master’s thesis on this topic, it is very exciting and encouraging to see.

Sheng: Based on your experience, can you offer any advice to our students regarding preparing for a career in the fashion apparel industry? What could they do at UD?

Ally:Some advice I would give to students preparing for a career in the fashion industry is to think about what classes at UD most intrigued and inspired them. There are so many different career paths within the fashion industry, whether it be design, product development, sales, merchandise planning, costing, garment sourcing, fabric sourcing, merchandise buying, etc… Whatever you are most passionate about, go after it. Also, keep an open mind. You may find a great opportunity that you hadn’t previously considered, and you may end up loving it. There is so much to be learned in any given role, especially when starting out. Throughout my role, I have learned not only the ins and outs of the fabric production cycle, but also the entire garment life cycle. I can see how all the teams within my organization work together to achieve a common goal.

UD has so many amazing resources to utilize for planning your future career. First, take advantage of the career center by meeting with a career counselor and updating your resume and LinkedIn. Next, consider doing a research project with a professor on a topic you are passionate about. There are so many professors in the fashion department who would be happy to chat about research opportunities, and having this experience can really help you stand out during the job search and interview process. Internships and retail experience are also great ways to gain work experience while in school. Lastly, lean on your network. If an alum you know has a career that sounds interesting to you, reach out to them and ask them for a quick phone call to learn more about it. It is great to build your network and learn more about different potential career paths. Overall, my greatest advice is to truly enjoy your college years- they go by so fast. Make the most of your time at UD, pursue your passions, and remember that exciting opportunities lie ahead!

–The End–

Exploring the Production and Export Strategies of U.S. Textiles and Apparel Manufacturers

The full study is available HERE.

Textiles and apparel “Made in the USA” have gained growing attention in recent years amid the increasing supply chain disruptions during the pandemic, the rising geopolitical tensions worldwide, and consumers’ increasing interest in sustainable apparel and faster speed to market. Statistics from the U.S. Bureau of Economic Analysis showed that U.S. textile and apparel production totaled nearly $28 billion in 2022, a record high in the most recent five years. Meanwhile, unlike in the old days, a growing proportion of textiles and apparel “Made in the USA” are sold overseas today. For example, according to the Office of Textiles and Apparel (OTEXA) under the U.S. Department of Commerce, U.S. textiles and apparel exports exceeded $24.8 billion in 2022, up nearly 12% from ten years ago.

By leveraging U.S. Department of Commerce Office of Textiles and Apparel (OTEXA)’s “Made in U.S.A. Sourcing & Products Directory,” this study explored U.S. textiles and apparel manufacturers’ detailed production and export practices. Altogether, 432 manufacturers included in the directory as of October 1, 2023, were analyzed. These manufacturers explicitly mentioned making one of the following products: fiber, yarn, fabric, garment, home textiles, and technical textiles.

Key findings:

First, U.S. textile manufacturers exhibit a notable geographic concentration, whereas apparel manufacturers are dispersed throughout the country. Meanwhile, by the number of textile and apparel manufacturers, California and North Carolina are the only two states that rank in the top five across all product categories, showcasing the most comprehensive textile and apparel supply chain there.

Second, U.S. textile and apparel manufacturers have a high concentration of small and medium-sized enterprises (SMEs). Highly consistent with the macro statistics, few textile and apparel manufacturers in the OTEXA database reported having more than 500 employees. Particularly, over 74% of apparel and nearly 60% of home textile manufacturers are “micro-factories” with less than 50 employees.

Third, U.S. textile and apparel manufacturers have limited vertical manufacturing capability. A vertically integrated manufacturer generally makes products covering various production stages, from raw materials to finished products. Results show that only one-third of U.S. textile and apparel manufacturers in OTEXA’s database reported making more than one product type (e.g., yarn or fabric). Meanwhile, specific types of vertically integrated production models are relatively popular among U.S. textile and apparel manufacturers, such as:

  • Apparel + home textiles (5.8%)
  • Fabric + technical textiles (5.1%)
  • Yarn + fabric (3.9%)

However, the lack of fabric mills (N=38 out of 432) appears to be a critical bottleneck preventing the building of a more vertically integrated U.S. textile and apparel supply chain.

Fourth, it is not uncommon for U.S. textile and apparel manufacturers to use imported components. Specifically, among the manufacturers in the OTEXA database, nearly 20% of apparel and fabric mills explicitly say they utilized imported components. In comparison, given the product nature, fiber and yarn manufacturers had a lower percentage using imported components (11%). Furthermore, smaller U.S. textile and apparel manufacturers appear to be more likely to use imported components. For example, whereas 20% of manufacturers with less than 50 employees used imported input, only 10.2% of those with 50-499 employees and 7.7% with 500 or more employees did so. The results indicate the necessity of supporting SME U.S. textile and apparel manufacturers to access textile input through mechanisms such as the Miscellaneous Tariff Bill (MTB).

Fifth, many US textile and apparel manufacturers have already explored overseas markets. Specifically, factories making textile products reported a higher percentage of engagement in exports, including fiber and yarn manufacturers (68.4%), fabric mills (78.9%), and technical textiles producers (69.1%). In comparison, relatively fewer U.S. apparel and home textile producers reported selling overseas.

Sixth, U.S. textile and apparel manufacturers’ export markets are relatively concentrated. Specifically, as many as 72% of apparel mills and 57% of home textiles manufacturers in the OTEXA database reported selling their products in less than two markets. These manufacturers also have a high percentage of selling to the U.S. domestic market. Likewise, because of the reliance on the Western Hemisphere supply chain, more than half of U.S. fiber and yarn manufacturers reported only selling in two markets or less. In comparison, reflecting the global demand for their products, U.S. technical textile manufacturers had the most diverse markets, with nearly 40% exporting to more than ten countries.

Seventh, while the Western Hemisphere remains the top export market, many U.S. textile and apparel manufacturers also export to Asia, Europe, and the rest of the world. For example, nearly half of U.S. textile and apparel manufacturers in OTEXA’s database reported exporting to Asia, and over 60% of U.S. technical textile manufacturers sold their products to European customers.

Additionally, over half of U.S. textile and apparel mills engaged in exports leveraged U.S. free trade agreements (FTAs). U.S. textile mills, on average, reported a higher percentage of using FTAs than apparel and home textile manufacturers. As most U.S.-led FTAs adopt the yarn-forward rules of origin, the results suggest that while such a rule may favor the export of U.S. textile products, its effectiveness and relevance in supporting U.S. apparel exports could be revisited.

Moreover, in line with the macro trade statistics, U.S. textile and apparel manufacturers in the OTEXA database reported a relatively high usage of USMCA, given Mexico and Canada being the two most important export markets. In comparison, U.S. textile and apparel manufacturers’ use of CAFTA-DR was notably lower, even for fiber and yarn manufacturers (37%) and fabric mills (33.3%).

by Kendall Ludwig, Miranda Rack and Sheng Lu

Picture above: On December 13, 2023, Kendall Ludwig and Miranda Rack, FASH 4+1 graduate students and Dr. Sheng Lu, had the unique opportunity to present the study’s findings to senior U.S. trade officials from OTEXA and the Office of the U.S. Trade Representative (USTR) in Washington DC, including Jennifer Knight (Deputy Assistant Secretary for Textiles, Consumer Goods and Materials), Laurie-Ann Agama (Acting Assistant US Trade Representative for Textiles), Maria D’Andrea-Yothers (Director of OTEXA), Natalie Hanson (Deputy Assistant US Trade Representative for Textiles) and Richard Stetson (Deputy Director of OTEXA).

Check the Udaily article that features the research project and the presentation (February 2024).

FASH455 Exclusive Interview with Jennifer Pisula, Fabric Sourcing Manager at QVC, about Why Fabric Sourcing Matters

About Jennifer Pisula

Jennifer Pisula is a Fabric Sourcing Manager at QVC. Jennifer is also a member of the Cotton Board, appointed by the U.S. Secretary of Agriculture.

Jennifer has over ten years of experience in the corporate retail industry, where she first started her career as a Buyer at Qurate for QVC, buying for brands such as Isaac Mizrahi, Liz Claiborne, and C. Wonder. Given her love for Product Development and Production, Jennifer shifted her career to Sourcing at QVC where she traveled to China, Hong Kong, and Vietnam for factory and mill visits. Jennifer left QVC to be the Sourcing lead for URBN’s Anthropologie Plus line and the lead for Free People Movement Pre-Production and Production. In 2020, Jennifer returned to Qurate to lead the Fabric Sourcing team for QVC, where she manages sourcing & R&D for over 20 brands, working on both celebrity and core private label brands. Jennifer also works part-time as an Adjunct Professor at Immaculata University, where she teaches Textiles and Fashion Portfolio Development. In addition to her professional positions,

Jennifer Pisula graduated from the Textiles, Fashion Merchandising and Design M.S. program from the University of Rhode Island & earned a B.S. in Fashion Merchandising from Mercyhurst University.

The interview was conducted by Leah Marsh, a graduate student in the Department of Fashion and Apparel Studies at the University of Delaware. Leah’s research focused on​​ exploring EU retailers’ sourcing strategies for clothing made from recycled textile materials and fashion companies’ supply chain and sourcing strategies.

The interview is part of the 2023 Cotton in the Curriculum program, supported by Cotton Incorporated, to develop open educational resources (OER) for global apparel sourcing classes.

The Shifts in US Textile Manufacturing Raise Questions About the Availability of US-made Textile Inputs for the Western Hemisphere Apparel Supply Chain

The full study is available here (need Just-Style subscription)

By leveraging production and trade statistics from government databases, we examined the critical trends of US textile manufacturing and supply. Particularly, we try to understand the strengths and weaknesses of the United States as a textile raw material supplier for domestic garment manufacturers and those in the Western Hemisphere. Below are the key findings:

First, fiber, yarn, and thread manufacturing is a long-time strength in the US, whereas fabric production is much smaller in scale. Specifically, fiber, yarn, and thread (NAICS 31311) accounted for nearly 18% of US textile mills’ total output in 2019. In comparison, less than 13% of the production went to woven fabrics (NAICS 31321) and only about 5% for knit fabrics (NAICS 31324).

Second, the US textile industry shifts to make more technical textiles and less apparel-related yarns, fabrics, and other raw materials. Data shows that from 2015 to 2019, the value of US fiber, yarn, and thread manufacturing (NAICS code 31311) dropped by as much as 16.8 percent. Likewise, US broadwoven fabric manufacturing (NAICS code 31321) and knit fabric (NAICS code 31324) decreased by 2.0 percent and 2.7 percent over the same period. Labor cost, material cost, and capital expenditure are critical factors behind the structural shift of US textile manufacturing.

Third, the structural change of US textile manufacturing directly affects the role of the US serving as a textile supplier for domestic apparel producers and those in the Western Hemisphere.

On the one hand, the US remains a critical yarns and threads supplier in the Western Hemisphere. For example, from 2010 to 2019, the value of US fibers, yarn and threads exports (NAICS31311) increased by 25%, much higher than other textile categories. Likewise, in 2021, fibers, yarns, and threads accounted for about 23.3% of US textile exports, higher than 21.0% in 2010. Additionally, nearly 40% of Mexico and CAFTA-DR members’ yarn imports in 2021 (SITC 651) still came from the US, the single largest source. This trend has stayed stable over the past decade.

On the other hand, the US couldn’t sufficiently supply fabrics and other textile accessories for garment producers in the Western Hemisphere, and the problem seems to worsen. Corresponding to the decline in manufacturing, US broadwoven fabric (NAICS 31321) and knit fabric (NAICS 31324) exports decreased substantially.

The US also plays a declining role as a fabric and textile accessories supplier for garment factories in the Western Hemisphere. Garment producers in Mexico and CAFTA-DR members had to source 60%-80% of woven fabrics and 75-82% of knit fabrics from non-US sources in 2021. Likewise, only 40% and 14.6% of Mexico and CAFTA-DR members’ textile accessories, such as labels and trims, came from the US in 2021.

Likewise, the limited US fabric supply affects the raw material sourcing of domestic apparel manufacturers. For example, according to the “Made in the USA” database managed by the Office of Textiles and Apparel (OTEXA), around 36% of US-based apparel mills explicitly say they use “imported material,” primarily fabrics.

The study’s findings echo some previous studies suggesting that textile raw material supply, especially fabrics and textile accessories, could be the single most significant bottleneck preventing more apparel “Made in the USA” and near-sourcing from the Western Hemisphere.

Meanwhile, how to overcome the bottleneck could trigger heated public policy debate. For example, US policymakers could encourage an expansion of domestic fabric and textile accessories manufacturing as one option. However, to make it happen takes time and requires substantial new investments. Also, economic factors may continue to favor technical textiles production over apparel-related fabrics in the US.

As an alternative, US policymakers could make it easier for garment producers in the Western Hemisphere to access their needed fabrics and textile accessories outside the US, such as improving the rules of origin flexibility in CAFTA-DR or USMCA. But this option is likely to face strong opposition from US yarn producers and be politically challenging to implement.

(About the authors: Dr Sheng Lu is an associate professor in fashion and apparel studies at the University of Delaware; Anna Matteson is a research assistant in fashion and apparel studies at the University of Delaware).