Fashion has long been used as a tool of self-expression, enabling the wearer to portray the identities

he/she feels more comfortable with. " Clothing is an extension of who we are. Much like a turtle with its

shell, we tell the world the who, the what, the where, and the when of our lives by what we wear on our

backs. (...) The clothing you put on your back is an incredibly accurate indicator of what you think of

yourself and your life." (Baumgartner, 2012, Introduction) It can also be stated that, much like a turtle,

one does not want to carry around a heavy load of unnecessary weight, but instead, optimize that

weight by focusing on the genuine depiction of one's true nature.

Furthermore, fashion can also act like a catalyst for our personal wellbeing, impacting (positively or

negatively) our overall happiness and mood. (Hefferon, 2014) Adornment and self-presentation are also

recognized to connect both our internal and external mediums, enhancing well-being. (Baron, 2013) It

can therefore be concurred that fashion plays a significant role in shaping our identity internally and

voicing it externally, which can trigger a certain level of comfort or well-being. A key part in this equation

is played by uniforms, whose meanings will be investigated further ahead.

nlike the official meaning of uniforms, Udefined by The Cambridge Dictionary as“a particular set of clothes that has to be worn by the members of the same organization or group of people" (Cambridge Dictionary Online), style uniforms have gained a positive conotation nowadays, appropriated by various fashion designers or editors within the industry, such as Karl Lagerfeld, Carolina Herrera or Emmanuelle Alt, known for their signature looks.

STYLE UNIFORMS:

THE KEY TO WELLBEING

1

The trend of simplifying one's wardrobe in order to create a sustainable image will be

investigated through qualitative content analysis of three different articles revolving around the

topic of uniforms as an element of personal choice, while also contrasting certain

wellbeing-related aspects of the externally-imposed uniforms.

The desired purpose of this written piece is not to spark a debate between advocates of the two

different types of uniforms but rather to explore how building your own personal uniform can

positively impact your well-being.

Furthermore, the content analysis will also be supported by relevant statements taken from a

focus group, aimed at researching the different meanings of physical and psychological

comfort, their inter-connection and how they impact our personalities. The focus group material

has been collected through a sample of 5 participants from 4 different countries, who have

actively involved in a 30 minutes conversation on the topic.

"No matter what sort of uniform it is- military, civil or religious...to put on such livery, is to give up

one's right to act as an individual...What one does, as well as what one wears, will be

determined by external authorities." (Lurie, 1981: 18, cited in Rafaeli and Pratt, 1997) It is rather

apparent that the symbol of uniforms has been widely linked to a loss of identity. Participants

taking part in the focus group have collectively approached the topic of uniform when asked

about their understanding of comfort/discomfort in dress. The most prevalent opinion was linked

to the lack of creativity and individuality in organizational uniforms and how that affects the

wearer's confidence. One particular participant specifically used the terms "shadow" and "ghost"

to describe the feelings triggered by wearing an imposed work uniform. However, these feelings

were mostly due to the uniform's colour, which was entirely black. Eventually, the subject

confessed to actually like the idea of people being "on the same level" at work.

Researchers have also concluded that the link between control over dress and member

compliance can be linked to theories of "deindividuation", first postulated by Festinger, Pepitone

and Newcomb (1952), the role theory and cognitive dissonance. (Rafaeli and Pratt, 1993 cited in

Rafaeli and Pratt, 1997) De-individuation is also described by Pine (2014) as a loss of responsibility

for personal actions within a group that is dressed uniformly. (Pine, 2014) This might justify the

participants' preference towards uniforms, which adopt a protective and comfortable

symbolism.

nlike the official meaning of uniforms,

The restrictive uniform

2

Conversely, other theories concur that uniform-dressing (constructed on a daily basis from a

personal choice) within a professional environment, can actually shape our identity. (Goffman

1959, cited in Kimle, Darmhorst, 1997) "We don our uniforms or familiar work costumes to help us

put on our role for the day" (Goffman 1959; cited in Kimle, Darmhorst, 1997, Introduction).

Furthermore, another theory that can be linked to uniforms is described by Festinger (1957)

through cognitive dissonance or inconsistency, which act as a trigger of psychological

discomfort. To some extent, these feelings have been experienced by one of the focus group

participants, who, despite her beliefs, feels entitled to abide by the rules of the company and

communicate them through uniform, subsequently facing a clash of standpoints, that triggers

mental discomfort.

To better understand how uniforms can actually impact a person's wellbeing, the following

segment of this paper will briefly explore how different cultures perceive uniforms from different

perspectives, and are therefore distinctively impacted by it.

Bandura's Social Cognitive Theory emphasizes how environmental influences play a significant

part in the formation and activation of particular human behaviours.

(Bandura, 1989) Within the focus group conducted for this current paper, participants have

been selected from 4 different countries and cultures: Romania, Scotland, Italy and The

Netherlands, illustrating distinctive characteristics and different views on uniform dressing and the

use of fashion for well-being. Throughout the session, there was a clear difference in the level of

care individuals were given to their appearance while living abroad, compared to while being

in their home countries. The most common behavioural pattern detected was that participants

felt less concerned with the others' perception of their appearance in less familiar environments,

where people do not know them. Conversely, their birth places represented a major concern

element when dressing up, requiring a more thorough consideration when choosing an outfit.

Another distinctive trait has been detected in the way participants regarded their appearance

as a first-impression-generator. It has been acknowledged that fashion lays the foundation for

communicating a certain message about the wearer in first impression encounters. (Livesley and

Bromley, 1973) Within the focus group, a certain participant was particularly concerned with

how the way they dressed and their area of study was often playing a judgemental instrument in

first impression situations, which naturally frustrated the participant.

3

Uniforms - a catalyst or an outcome?

Subsequently, the participant developed a black uniform for professional circumstances that

would reduce the level of care and time allocated to choosing everyday outfits. The

participant's reaction can be described as a ‘sartorial protective shield’ (Pine, 2014, Kindle

Location 348) that enhances psychological comfort, a way to avoid external judgements

based on appearance. (Pine, 2014) Moreover, the participant's choice of a uniform can also be

linked to Damhorst's theory about the curation of products in today's commercially

overcrowded society, which determines choices simplification. Moreover, in a 2002 essay for

Harvard Business Review, Robert C. Pozen stated "Making too many decisions about mundane

details is a waste of a limited resource: your mental energy." It can therefore be stated that

reducing the amount of stressful thought put into daily-wear, enhances your performance by

saving considerable energy. Creating a particular uniform is thus an instrument for personal

well-being.

Moving back to Bandura's Social Cognitive Theory, reflecting on how people react " within any

social environment based on visual characteristics, their bodies and presentation, even before

they say or do anything " (Bandura, 2008, cited in Baron, 2013, p.18) , a particular example from

the focus group becomes relevant to the theory. When discussing dressing behaviours within

familiar environments (places of birth), a certain participant confessed about how knowing she

will face a certain group of people in a particular environment triggered her feelings of

competitiveness. " I need to look better than anyone else" was a rather bold statement offered

by the participant during the focus group, argued by the fact that visiting her highschool,

where everyone knew her, put a lot of pressure on how she appeared. She felt the urge to

project an image of superiority to everyone else, an attitude of rebellion towards institutional

rules. This might relate to an earlier statement voiced by the same participant during the focus

group, who mentioned she had wished for a uniform while in highschool, as it would have kept

her out of trouble. It would appear that the word "uniform" caused her feelings of stress, related

to finding an appropriate way of dressing to comply with an institution's rules, that doesn't

actually have a specific uniform. Subsequently, the participant's experience portrays Bandura's

idea that "people are self-organizing, proactive, self-reflecting, and self-regulating organisms

who are shaped by these functions as well as by external events." (Bandura, 2008, cited in Baron,

2013, p.18)

Conclusively, by correlating the above-mentioned theories and personal experiences, it could

be stated that uniforms can trigger different thought-processes, depending on personal

experiences. However, in both participants' cases, it seemed like "the uniform" became a symbol

of protest, although in one case, the uniform was the outcome, and in the other, it was the

motivation for her actions. Inspired by the former, the following chapter will take a deeper look

at the symbol of everyday "uniforms", which unlike the externally-imposed ones, might reveal a

widely acclaimed positive impact on the wearer's wellbeing.

4

In order to take the investigation one step further, a content analysis of three different online

articles will be conducted. These three articles have been selected on the basis of their

relevance to the topic in matter, concerning the use of personal uniforms in order to enhance

well-being, but also by taking into account their fashion-focused approach. These articles

belong to online magazines, although some of them have initially started as blogs.

To begin with, one particular article that perfectly encompasses the use of uniforms in everyday

life as a personal choice, is Mattie Kahn's, suggestively entitled, "The Uniform", published on

Leandra Medine’s insightful website, Man Repeller. The platform usually tackles a wide range of

topics on comfort in clothing through honest writing, infused with a humouristic appeal. The

overall ethos of the website actually focuses on portraying usual decision-making processes,

related to fashion or other lifestyle aspects, coming from an inner voice and personal will, rather

than influenced by external factors or deceitful motivations. Kahn’s approach to fashion

appears to be attuned to Baron's theory (2013) who believes that one’s identity should be

crafted in a conscious manner by considering positive psychological aspects such as "one’s

strengths, emotions, aspirations and tastes" (Baron, 2013, p.45), and only then portray a particular

image.(Baron, 2013)

The author commences with an early recollection of her fashion influences, which undisputedly

stemmed from a media inspiration, ever so quintessential to the Millenial generation. With a hint

to the 90s hit, "Clueless", which could also be linked to a rebellious attitude towards uniforms,

Kahn defines her initial sartorial choices as unrepeatable. "I liked the drama of getting dressed. I

liked the uncertainty. The insides, the guts of my drawers were a deck of cards, and I shuffled

them eagerly." (Kahn, 2013) The author eventually admitted the experiment had to come to an

end, making room for a rather opposite approach to fashion, inspired by Tim Gunn's Guide to

Style TV series, where the fashion personality enlisted "the ten essential items every woman

needs." (Kahn, 2013) The terms " intelligent consumerism" , "deliberate sense of style" or

"consciousness in fashion" are eagerly associated with Gunn's theory, which have become part

of Kahn's shopping manual. Baron (2013) also considers that owning "the raw materials or the

foundation of great pieces in your closet is a critical foundation for crafting positive identity

through clothing." (Baron, 2013, p.46) Some of the key shopping criteria for increasing positive

subjective experiences (Guy et al. 2000, cited in Baron, 2013) are considered to be quality, fit

and appropriateness to an event or environment. As illustrated by the focus group participants,

certain environments require distinctive ways of dressing in order for them to feel comfortable,

whether that is physical or psychological comfort.

5

Curate, then recreate.

Subsequently, building a daily uniform by curating specific key pieces, as suggested by Tim

Gunn, will become the "foundation" of a regular uniform, whose positive effects are

undisputable. A case in point is Kahn’s exact feelings related to this experiment. " Last week, I

wore the same outfit for three days straight. I didn’t feel bad about it. (...) I just really, really, really

liked my sweater." (Kahn, 2013)

Kahn’s conviction is also supported by another article written on WhoWhatWear by Kat Collings

who advocates for positive emotions stemmed from uniform dressing: " You know those days

when you look in the mirror, and feel infinitely more confident because you feel like you nailed

your outfit? Those are the looks that should be potential contenders for your personal style

uniform." (Collings, 2014) It would appear that the Man Repeller author seemed to have found

the answer to the question posed by this article.

Collings describes "uniform dressing" as "smart", illustrating Steve Jobs' regular use of turtlenecks.

She then suggests various useful techniques for choosing one's uniform, based on patterns or

clothing categories, bringing in the positivity of this dressing techniques, by recommending to go

for pieces that "make you happy". Kahn also admits to having successfully curated her

wardrobe based on key items: "The contents of my closet are now largely identical.(...) I own five

striped shirts and possess chambray in inappropriate quantities. Somehow, I have accumulated

11 oversized knit sweaters." (Kahn, 2013) Similarly, one focus group participant has also

discovered her winning uniform recipe: black turtleneck and black trousers/jeans, accessorized

with different jewellery pieces to portray a "fashionable" appeal.

The third and final article analysed is entitled " The Uniform's Growing Place in Fashion" (published

on Paste Magazine) and comprises some interesting comments that can be linked to theories

which have been previously mentioned in this paper.

According to the author: "Clothing has provided us with an external skin of not just protection,

but the luxury of non-verbal communication." (Kovacevic, 2015) This conviction appears to

agree with Baumgartner's (2012) statement, initially presented in the introduction of this current

piece of writing, which implied that fashion acts as a means of communicating " the who, the

what, the where, and the when of our lives" (Baumgartner, 2012, Introduction)

6

The Style Uniform

a minimal approach

7

The article continues to pin-point the liaison between uniforms and wellbeing, revealing the

author's feelings on the topic. "I find comfort in the uniformity of my minimalist, grayscale

wardrobe." (Kovacevic, 2015) Moreover, black appears to be the authors primary chromatic

choice, due to its subtle approach and inconspicuous nature. (Kovacevic, 2015) Black seems like

a ubiquitous symbol related to uniforms, also present in the comments of various focus group

participants. When asked which items are the most comfortable ones in her wardrobe, both

physically and psychologically, one participant confidently selected her "black jeans", pointing

out to their "stretchy" texture and versatility.

Referring back to the above-mentioned article, various themes become apparent, such as the

symbol of "freedom", related to both the body and the mind of the wearer. "Muting the hues and

accenting the form of an ensemble will always create a stage for the body to flourish and, most

importantly, the mind" (Kovacevic, 2015) Another element highlighted within the article is the

uniform's time-saving but also energy-saving qualities. Kovacevic arguments her statement with a

reference to one of Dr. Roy F. Baumeister's social psychology discovery, concluding that "the

more decisions we can eliminate in our day, the more clear-headed and productive our energy."

(Kovacevic, 2015) This is also related to Pozen's statement about how abusing our decision-making

process will saturate our mental energy, theory presented earlier on within this paper. Thus, there is

a general consensus that reducing our spectrum of choices will increase our productivity,

encouraging a positive mental and physical state. The author concludes with the conviction that

uniform is quietly triumphing over the fast-paced fashion landscape, "creating solidarity, structure,

and the intersection between form and function." (Kovacevic, 2015)

Conclusively, from the findings presented within this written paper, it appears that "style uniforms"

are the answer to a sustainable wellbeing. Providing our minds with the appropriate freedom and

comfort will subsequently project that same comfort over our bodies. Although the issue of

whether style uniforms can positively influence our wellbeing on a larger scale, can still be

debated, one thing can certainly be attested: "It is evident that fashion is as much about

psychology as it is about presentation." (Pine, 2014, Kindle Location 358)

Words Count: 2770

REFERENCES

Bandura, A. (1989). Social cognitive theory. In R. Vasta (Ed.), Annals of child development. Vol. 6. Six theories of child development (pp. 1-60). Greenwich, CT: JAI Press.

Baron J. G., 1.1.2013, Curating The Self: A Proposed Intervention for Positive Identity Crafting Through Self-presentation and Clothing, University of Pennsylvania [online] Available from: http://repository.upenn.edu/mapp_capstone/51/ [Accessed 1st of October 2015]

Baumgartner, Jennifer (2012-03-27), You Are What You Wear: What Your Clothes Reveal About You , Da Capo Press. Kindle Edition.

Cambridge Dictionary [online], available from: http://dictionary.cambridge.org/dictionary/english/uniform?q=uniform+, [Accessed 7th December]

COLLINGS K., 2014, 3 Easy Steps to Finding Your Personal Style Uniform [online], Who What Wear, Available from: http://www.whowhatwear.co.uk/style-uniform/slide18 [Accessed 6th December 2015].

Constance S., 2015, An experiment on psychological and physical comfort-Part 1, [online], Avaialble from:http://www.saraconstance.com/2015/11/an-experiment-on-psychological-and.html, [Accessed 20th November 2015]

Damhorst, M. L. (2005). Dress as nonverbal communication. In The meaning of dress (2nd ed.). New Your, NY: Fairchild Publications.

Festinger, L.,1957, A Theory of Cognitive Dissonance, California: Stanford University Press

Festinger, L., Pepitone, A., and Newcomb, T. (1952). Some consequences of deindividuation in a group. Journal of Abnormal and Social Psychology, 47, 382-389.

Goffman E. ,1959, The presentation of self in everyday life, Doubleday, USA.

Johnson K. K. P., Lennon S, The social psychology of dress, [Online], Abvailable from: http://www.bergfashionlibrary.com/page/The$0020Social$0020Psychology$0020of$0020Dress/the-social-psychology-of-dress#References, [Accessed 5th December 2015]

Kahn M., 2013, The Uniform [online], Man Repeller. Available from: http://www.manrepeller.com/2013/01/the-uniform.html [Accessed 6th December 2015]

Kimle P. A. , Damhorst M. L., A Grounded Theory Model of the Ideal Business Image for Women, published in Symbolic Interaction, Volume 20, Issue 1, pages 45–68, May 1997

8

Kovacevic N., 2015, The Uniform's Growing Place in Fashion [online], Paste Magazine. Available from: http://www.pastemagazine.com/articles/2015/01/the-uniforms-growing-place-in-fashion.html [Accessed 6th December 2015].

Lurie, A. 1981, The language of clothes, New York: Random House

Masuch, S. & Hefferon, K. (2014). Understanding the links between positive psychology and fashion: A grounded theory analysis. International Journal of Fashion Studies, 1 (2), 227- 246.

Mead, George H., Mind, Self and Society. From the Standpoint of a Social Behaviorist, PDF

available from: http://livros01.livrosgratis.com.br/bu000001.pdf

Pine, Professor Karen J. (2014-05-13). Mind What You Wear: The Psychology of Fashion (Kindle

Location 215). . Kindle Edition.

Pozen R. C., 2012, Boring is productive, Harvard Business Review [online] Available from:

https://hbr.org/2012/09/boring-is-productive.html [Accessed 10th November 2015]

Pratt M.G, Rafaeli A., Organizational dress as a symbol of multilayered social identities, Academy

of Management Journal; Aug 1997; 40, 4; ABI/INFORM Global, 862-898

9

Subsequently, the participant developed a black uniform for professional circumstances that

would reduce the level of care and time allocated to choosing everyday outfits. The

participant's reaction can be described as a ‘sartorial protective shield’ (Pine, 2014, Kindle

Location 348) that enhances psychological comfort, a way to avoid external judgements

based on appearance. (Pine, 2014) Moreover, the participant's choice of a uniform can also be

linked to Damhorst's theory about the curation of products in today's commercially

overcrowded society, which determines choices simplification. Moreover, in a 2002 essay for

Harvard Business Review, Robert C. Pozen stated "Making too many decisions about mundane

details is a waste of a limited resource: your mental energy." It can therefore be stated that

reducing the amount of stressful thought put into daily-wear, enhances your performance by

saving considerable energy. Creating a particular uniform is thus an instrument for personal

well-being.

Moving back to Bandura's Social Cognitive Theory, reflecting on how people react " within any

social environment based on visual characteristics, their bodies and presentation, even before

they say or do anything " (Bandura, 2008, cited in Baron, 2013, p.18) , a particular example from

the focus group becomes relevant to the theory. When discussing dressing behaviours within

familiar environments (places of birth), a certain participant confessed about how knowing she

will face a certain group of people in a particular environment triggered her feelings of

competitiveness. " I need to look better than anyone else" was a rather bold statement offered

by the participant during the focus group, argued by the fact that visiting her highschool,

where everyone knew her, put a lot of pressure on how she appeared. She felt the urge to

project an image of superiority to everyone else, an attitude of rebellion towards institutional

rules. This might relate to an earlier statement voiced by the same participant during the focus

group, who mentioned she had wished for a uniform while in highschool, as it would have kept

her out of trouble. It would appear that the word "uniform" caused her feelings of stress, related

to finding an appropriate way of dressing to comply with an institution's rules, that doesn't

actually have a specific uniform. Subsequently, the participant's experience portrays Bandura's

idea that "people are self-organizing, proactive, self-reflecting, and self-regulating organisms

who are shaped by these functions as well as by external events." (Bandura, 2008, cited in Baron,

2013, p.18)

Conclusively, by correlating the above-mentioned theories and personal experiences, it could

be stated that uniforms can trigger different thought-processes, depending on personal

experiences. However, in both participants' cases, it seemed like "the uniform" became a symbol

of protest, although in one case, the uniform was the outcome, and in the other, it was the

motivation for her actions. Inspired by the former, the following chapter will take a deeper look

at the symbol of everyday "uniforms", which unlike the externally-imposed ones, might reveal a

widely acclaimed positive impact on the wearer's wellbeing.

In order to take the investigation one step further, a content analysis of three different online

articles will be conducted. These three articles have been selected on the basis of their

relevance to the topic in matter, concerning the use of personal uniforms in order to enhance

well-being, but also by taking into account their fashion-focused approach. These articles

belong to online magazines, although some of them have initially started as blogs.

To begin with, one particular article that perfectly encompasses the use of uniforms in everyday

life as a personal choice, is Mattie Kahn's, suggestively entitled, "The Uniform", published on

Leandra Medine’s insightful website, Man Repeller. The platform usually tackles a wide range of

topics on comfort in clothing through honest writing, infused with a humouristic appeal. The

overall ethos of the website actually focuses on portraying usual decision-making processes,

related to fashion or other lifestyle aspects, coming from an inner voice and personal will, rather

than influenced by external factors or deceitful motivations. Kahn’s approach to fashion

appears to be attuned to Baron's theory (2013) who believes that one’s identity should be

crafted in a conscious manner by considering positive psychological aspects such as "one’s

strengths, emotions, aspirations and tastes" (Baron, 2013, p.45), and only then portray a particular

image.(Baron, 2013)

The author commences with an early recollection of her fashion influences, which undisputedly

stemmed from a media inspiration, ever so quintessential to the Millenial generation. With a hint

to the 90s hit, "Clueless", which could also be linked to a rebellious attitude towards uniforms,

Kahn defines her initial sartorial choices as unrepeatable. "I liked the drama of getting dressed. I

liked the uncertainty. The insides, the guts of my drawers were a deck of cards, and I shuffled

them eagerly." (Kahn, 2013) The author eventually admitted the experiment had to come to an

end, making room for a rather opposite approach to fashion, inspired by Tim Gunn's Guide to

Style TV series, where the fashion personality enlisted "the ten essential items every woman

needs." (Kahn, 2013) The terms " intelligent consumerism" , "deliberate sense of style" or

"consciousness in fashion" are eagerly associated with Gunn's theory, which have become part

of Kahn's shopping manual. Baron (2013) also considers that owning "the raw materials or the

foundation of great pieces in your closet is a critical foundation for crafting positive identity

through clothing." (Baron, 2013, p.46) Some of the key shopping criteria for increasing positive

subjective experiences (Guy et al. 2000, cited in Baron, 2013) are considered to be quality, fit

and appropriateness to an event or environment. As illustrated by the focus group participants,

certain environments require distinctive ways of dressing in order for them to feel comfortable,

whether that is physical or psychological comfort.

In order to explore the concepts of comfort/discomfort, from both a physical and psychological point of

view, I have decided to create two photoshoots.

The initial concept of the “fashion experiment” was to create two completely different outfits in order to

analyse their particular effects on my overall wellbeing. All photographs have been taken by the same

photographer, whose details are listed in the Photography Details Form present in the Appendices.

There were no moodboards created prior to the shoot, as the idea was to explore a very genuine,

personal and relaxed perspective to dressing up, which is why I was also the model. I felt that being the

subject of this photoshoot would enable me to portray myself as honestly as possible, based on the

feelings experienced by wearing the clothes.

Apart from the photographer, there was also a make-up artist involved in the second shooting of the

experiment, who during the photoshoot also took “making-of” pictures for Social Media purposes while

making sure the clothes/hair/makeup were in order throughout the shooting.

a fashion experiment

This first set of pictures focused on the concept of psychological comfort and physical discomfort. The

entire look was based on an entirely different persona than my normal self, featuring hair extensions, short

garment cuts, high-heels and tight fabrics. However, despite the physical discomfort, the attentively

put-together look, portraying a completely different identity of myself, made me feel extremely confident

and therefore psychologically comfortable. I have documented more of my exact feelings related to this

look in an article on my personal blog. (Constance, 2015)

The second photoshoot specifically focuses on physical comfort, showcasing a completely opposite outfit

to the first one. In order to perfectly reflect the essence of comfort, two factors were taken into account:

body warmth supported by thick and soft fabrics (woollen scarf; fitted turtle neck, leather jacket) and

freedom of movement enabled by the pair of Nike sports shoes I am wearing, whose sole provide extra

cushioning for the heels. The psychological comfort was also considered when creating this outfit, which is

why the styling was essential in order to give the look a fashionable appeal. The entire outfit (except for

the shoes) was sponsored by Topshop Aberdeen.

Bandura, A. (1989). Social cognitive theory. In R. Vasta (Ed.), Annals of child development. Vol. 6. Six theories of child development (pp. 1-60). Greenwich, CT: JAI Press.

Baron J. G., 1.1.2013, Curating The Self: A Proposed Intervention for Positive Identity Crafting Through Self-presentation and Clothing, University of Pennsylvania [online] Available from: http://repository.upenn.edu/mapp_capstone/51/ [Accessed 1st of October 2015]

Baumgartner, Jennifer (2012-03-27), You Are What You Wear: What Your Clothes Reveal About You , Da Capo Press. Kindle Edition.

Cambridge Dictionary [online], available from: http://dictionary.cambridge.org/dictionary/english/uniform?q=uniform+, [Accessed 7th December]

COLLINGS K., 2014, 3 Easy Steps to Finding Your Personal Style Uniform [online], Who What Wear, Available from: http://www.whowhatwear.co.uk/style-uniform/slide18 [Accessed 6th December 2015].

Constance S., 2015, An experiment on psychological and physical comfort-Part 1, [online], Avaialble from:http://www.saraconstance.com/2015/11/an-experiment-on-psychological-and.html, [Accessed 20th November 2015]

Damhorst, M. L. (2005). Dress as nonverbal communication. In The meaning of dress (2nd ed.). New Your, NY: Fairchild Publications.

Festinger, L.,1957, A Theory of Cognitive Dissonance, California: Stanford University Press

Festinger, L., Pepitone, A., and Newcomb, T. (1952). Some consequences of deindividuation in a group. Journal of Abnormal and Social Psychology, 47, 382-389.

Goffman E. ,1959, The presentation of self in everyday life, Doubleday, USA.

Johnson K. K. P., Lennon S, The social psychology of dress, [Online], Abvailable from: http://www.bergfashionlibrary.com/page/The$0020Social$0020Psychology$0020of$0020Dress/the-social-psychology-of-dress#References, [Accessed 5th December 2015]

Kahn M., 2013, The Uniform [online], Man Repeller. Available from: http://www.manrepeller.com/2013/01/the-uniform.html [Accessed 6th December 2015]

Kimle P. A. , Damhorst M. L., A Grounded Theory Model of the Ideal Business Image for Women, published in Symbolic Interaction, Volume 20, Issue 1, pages 45–68, May 1997

THE MAKING-OF

9

appendices

My personal uniform has developed throughout time based on various factors such as constant travelling,

weather and comfort. I therefore resorted to a practical, versatile and classic approach to styling that allowed me

to curate my wardrobe with a few essential pieces, in a limited chromatic palette and fabric array. This saves me

time, by enabling me to make quick decisions when it comes to dressing up daily, improves my creativity as I look

for new ways to optimize a rather limited amount of options and boosts my self-confidence as I know I will always

look good in these items. Subsequently, it positively impacts my well-being.

My staple fabrics are: leather (patent, suede, matte), wool, cashmere, silk and denim.

My staple pieces are: skinny leather trousers, mini/midi leather/denim skirts (fitted, A-line), short/midi leather

high-waist trousers, black ankle boots (buckle/lace ups), knee-high tight pointed leather boots, leather black

patent brogues, a woollen blazer, denim jacket, a woollen coat, a black leather tote, pointed black stilettos, and

the quintessential leather jacket.

My staple colours are: BLACK, blue, neutrals and white. These colours go well with my complexion, hair, eyes & lips

shade, plus they work well together which allows me to create multiple combinations.

It might seem complicated from a written description, but browsing through the following personal style photos

taken from my Instagram archive, taken in various locations and environments (casual, professional) will hopefully

reveal a certain pattern, a uniformity in my sartorial choices. My “uniform” is constantly updating and adapting to

my style evolution, age and mood, but it is one that I will resort to my whole life. I genuinely believe I found my

personal recipe to a wardrobe that encompasses my true nature, making me feel confident & comfortable.

Extra elements that compose my uniform:

Extra elements that compose my uniform:

Big statement earrings & necklaces.

Waist accentuation through belts or high-waist silhouettes.

Layering.