Lorynn Divita, Ph.D.

Associate Professor of Apparel Design and Merchandising Baylor University

  • Waco TX

Leading fashion researcher who focuses on fashion forecasting, trend contagion & textile, apparel & retail industry topics

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2 min

Baylor Fashion Forecasting Expert: The Business and Power of Color

2023 Color of the Year Viva Magenta Every December for 20 years, the global color management company Pantone reveals its Color of the Year for the upcoming year. For 2023, Pantone has chosen a color that “vibrates with vim and vigor”: Viva Magenta. More than just a pretty color for fashion, Viva Magenta 18-1750 is the result of years of research into trends in technology, entertainment and fashion. But what does the Color of the Year mean to the average consumer? According to Baylor University fashion forecasting expert Lorynn R. Divita, Ph.D., retailers with this information can offer products that will resonate with their customers. “Color is the most important factor in whether someone is going consider a purchase,” Divita said. However, “Retailers have to get it right.” Pantone collaborated with diverse group of industry leaders such as Motorola, Lenovo, Spoonflower fabrics and Artechouse Studio to ensure they correctly identified emerging consumer tastes by making connections beyond the boundaries of fashion. “Fashion change happens because people demand novelty,” Divita said, “and retailers want to make people happy.” Using color forecasting is a low-risk way for retailers to provide that novelty. Unlike changes in skirt lengths or pant styles, color is a trend available to everyone. “You can choose how you do it. It is through a garment? Is it through an accessory? Color will translate to multiple categories. So, everybody can participate in a way that feels comfortable to them,” Divita said. Color Forecasting is typically a reliable way to predict trends, but it isn’t always sure thing. Consumers won’t purchase something they fundamentally don’t like. To be successful, color forecasters must be mindful of that. Divita points to the words of cultural reporter and author Virginia Postrel on the two criteria needed for a trend to takeoff: “Do I like that?” and “Am I like that?” If the answer to both questions is yes, the trend is more likely take off. If not, retailers will be stuck with warehouses full of unsold merchandise. Pantone began in 1963 as a color matching standard for the printing industry offering uniformity of color throughout the design and manufacturing process. The numbers behind each color are a recipe for creating an exact match. According to the Pantone website, “Pantone’s color language supports all color conscious industries; textiles, apparel, beauty, interiors, architectural and industrial design, encompassing over 10,000 color standards across multiple materials including printing, textiles, plastics, pigments, and coatings.” Using this industry knowledge, the company branched out into color forecasting in 1999 with its first color of the year, Cerulean. Today, the Pantone Color of the Year is an eagerly anticipated announcement for the fashion forward. Only time will tell if Viva Magenta will be embraced or become footnote in pop culture history. Until then, be on the lookout at your favorite stores for the next big thing. If you are looking for the correct Pantone Baylor colors, they are Baylor Green 3435 and University Gold 1235.

Lorynn Divita, Ph.D.

4 min

Why Some Mannequins Are Turning Blue, Taking a Dive and Putting on Weight

Baylor University fashion expert and author explains new twists in 'silent selling' -and why frustrated customers may be relieved Women have long griped about pencil-thin mannequins in clothing displays, saying they bear little resemblance to real women’s bodies and make shopping frustrating and depressing. But the criticism is beginning to make inroads, and some members of the apparel industry are introducing changes to stop idealizing thin bodies and make mannequins more inclusive — among them creating mannequins with curvier shapes, modeling the figures after disabled people and, in a very different approach, fashioning forms that are totally unrealistic, says Baylor University researcher Lorynn Divita, Ph.D., co-author of the textbook "Fashion Forecasting” and associate professor of apparel merchandising in Baylor’s Robbins College of Health and Human Sciences. And more change may be in the works, prompted by research. A 2017 study published in the Journal of Eating Disorders found that 100 percent of the female mannequins studied in two large English cities represented an underweight body size — one that would be “medically unhealthy.” (Note: While female mannequins look scrawny, many of their male counterparts are brawny. Only 8 percent of male mannequins represented an underweight body size — although many appeared “unrealistically muscular,” researchers said.) Divita, who conducts research on the apparel industry, tracks trends and makes fashion predictions, offers some observations in this Q&A: Q: If mannequins are supposed to be a “silent seller” and a strong method for attracting customers, why are they so skinny that it is discouraging to women who are average or bigger? Why can’t their makers pack a few extra plastic pounds on them? A: For one thing, mannequins are expensive. The material for one that’s larger is going to cost more, the same way it is for plus-size garments, because you use more material. Typical department store mannequins can cost on average $500 to $900, and it can cost $150 just to repair a joint on a broken mannequin. In New York, where the retail industry is widely unionized, in some stores the sales associates are not allowed to touch the store mannequins. That responsibility is solely for visual merchandisers as a means of protecting the store’s investment. Another reason smaller mannequins have been appealing to retailers is that smaller dimensions make it easier to put on and remove clothing. Q: Wouldn’t it be worth the investment to make them bigger to showcase more realistic or inclusive figures and attract those customers? A: I recently visited the corporate offices of plus-size design company ELOQUII in New York, and their creative director, Jodi Arnold (B.S.H.E. ’88), shared with me that 65 percent of U.S. women are over size 14. Yet they represent only 17 percent of apparel spending. It’s hard to determine cause and effect: are they not spending on apparel because a wide variety of options aren’t available? Or is it that a wide variety of options are not available because this market does not spend on apparel? ELOQUII is betting on the former. In addition to their online store, they’ve recently begun opening brick-and-mortar storefronts which, unlike their website, feature merchandise on mannequins. Hopefully as the plus-sized apparel market continues to grow, the increased demand for plus-sized mannequins will result in wider representation of mannequin body types overall. Q: If most mannequins don’t reflect the majority of women’s physiques, where does the inspiration come for their sizes and shapes? A: Many mannequins can be sculpted using the measurements of live models or even have their proportions based on a celebrity who has a widely admired figure. Just like there is no standard apparel sizing system for women, there is no standard sizing system for display mannequins. Q: Besides beginning to be a bit more realistic in size, how are mannequins evolving? A: We are used to traditionally seeing mannequins in static poses like standing or sitting. With the rise in popularity of activewear, stores are devoting more floor space to this merchandise category, and it only makes sense to put those mannequins in dynamic positions like doing yoga poses or running. Another great example of dynamic poses can be found in swimwear: there are some great displays of mannequins diving. The impact of dynamic poses such as these are heightened when mannequins are displayed in groups of five or seven. Dynamic poses are currently being taken to the next level by actually suspending mannequins from the ceiling, so who knows how far this trend can go? One way to address representation is to go in the opposite direction and make a mannequin that is totally unrealistic. The last time I was shopping, I saw an entire section merchandised with glossy light-blue mannequins. This is actually a very clever way of appealing to everyone by targeting no one. Another interesting thing is that new technology allows visual merchandisers to creatively alter a mannequin’s appearance without changing it permanently by printing vinyl stickers to affix to mannequins’ faces. Merchandisers can print out bold lips or dramatic eyelashes, affix them to the mannequin in the display and easily take them off when they are done, which gives visual merchandisers yet another way to attract our attention. ABOUT LORYNN DIVITA, Ph.D. Divita is the author of the textbook “Fashion Forecasting” (Fourth edition, Fairchild Books). Her publications have appeared in the Journal of the Textile Institute and Journal of Fashion Marketing and Management, both published in England; Clothing and Textiles Research Journal and Journal of Textile and Apparel Technology and Management. She is the United States editor for the Bloomsbury Fashion Business Case Studies project and is on the editorial board of the Journal of Fashion, Style and Popular Culture. Divita received her B.A. in French and B.S. in fashion merchandising from California State University Chico, her Master’s degree in apparel manufacturing management from University of Missouri, and her Ph.D. in textile products marketing from University of North Carolina at Greensboro.

Lorynn Divita, Ph.D.

Biography

Dr. Lorynn Divita is an Associate Professor of Apparel Merchandising in the Department of Family and Consumer Sciences at Baylor University, where she has taught since 2002.

Divita has taught courses on principles of art and design, merchandise planning and control, retailing trends and issues, fashion forecasting and apparel quality analysis. Her academic research focuses on fashion forecasting and the influence of contemporary culture on trend contagion.

Divita is U.S. editor of the Bloomsbury Fashion Business Case Studies series and author of the textbook, Fashion Forecasting (Bloomsbury) and coauthor of The Why of the Buy: Consumer Behavior and Fashion Marketing (Bloomsbury).

Her publications have appeared in academic journals, including the Journal of the Textile Institute, Journal of Fashion Marketing and Management, and Clothing Cultures published in England; Clothing and Textiles Research Journal and Journal of Textile and Apparel Technology and Management, published in the U.S.; and International Journal of Costume and Fashion, published in Korea.

Areas of Expertise

Fashion Forecasting & Contagion
Contemporary Culture and Fashion
Textile Sciences

Education

University of North Carolina at Greensboro

Ph.D.

Textile Products Marketing

University of Missouri

M.S.

Apparel Manufacturing Management

California State University, Chico

B.A. degrees

Fashion Merchandising and French

Media Appearances

These jeans that make you look like you wet yourself cost $800 – and sold out. Why?

USA TODAY  online

2024-05-14

Lorynn Divita is quoted in this article about a controversial pair of jeans from a high-end fashion brand with a “wet stain” on the front.

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How Can Dry Cleaners Connect with Gen Z? (Part 2)

American Dry Cleaner  online

2023-09-12

Lorynn Divita offered an online workshop, “Connecting with Gen Z — The ‘Values’ Generation,” for the National Cleaners Association to help dry cleaning businesses understand how to connect with Generation Z.

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Why Is It Trending?: Fashion Forecasting Expert Dr. Lorynn Divita Breaks Down the Apparel Industry

Her Campus  

2023-02-25

Lorynn Divita is interviewed about the ways in which industry and social media influencers forecast trends.

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Articles

The Why of the Buy: Consumer Behavior and Fashion Marketing-with STUDIO

Bloomsbury Publishing USA

Patricia Mink Rath, Stefani Bay, Penny Gill, Richard Petrizzi, Lorynn Divita

2023-03-09

Even as the fashion industry changes rapidly with new technologies, styles and trendsetters, one thing remains constant: the customer is key. But with more competition than ever before, how do fashion brands reach elusive customers and even more crucially, establish loyalty? This thoroughly updated third edition introduces core concepts of consumer behavior through a unique fashion perspective. Ideal for fashion merchandising and marketing courses, this text explains the motivation behind consumer choice and purchase written in a clear manner with industry examples. This text will cover updates in technology and social media, which have changed the landscape of the fashion market.

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Texas Cowboy Boots: America's Material Culture Melting Pot

The Journal of American Culture

David Loranger, Lorynn Divita

2023-03-02

Cowboy boots are some of the most recognizable dress icons in the United States and symbolize the American West. The mythology of these material culture objects has been built over hundreds of years in many types of oral and written narratives. The purpose of this study was to combine secondary sources focusing on specific dimensions of cowboy boots with interviews of bootmakers and firm owners, developing a clearer understanding of the multicultural evolution of this material culture icon.

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Predicting consumer intention to purchase clothing products made from sustainable fabrics

Clothing Cultures

Jeong-Ju Yoo, Lorynn Divita, Hye-Young Kim

2018-06-01

The goal of this study is to investigate the differential influences of environmental concern and fashion opinion leadership on consumer intention to purchase clothing products made of sustainable fabrics. In doing so, this study examines the mediating role of environmental attitude towards clothing consumption.

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