Upload
zahra-akthar
View
218
Download
2
Tags:
Embed Size (px)
DESCRIPTION
Dissertation report finding out whether Social Class affects our Taste in Design. By Zahra Akthar.
Citation preview
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
2
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.
3
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
4
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
5
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.
6
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.
9
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.
10
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.
11
‘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.
12
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...”
13
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.
14
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.
15
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)
16
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.
17
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.
18
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)
19
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.
20
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.]
21
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.
22
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.