Table of Contents:

An introduction: What does “product quality” really mean? 2
Understanding consumers’ perspective 2 * a) Intrinsic cues 4 * b) Extrinsic cues 4 * c) Appearance cues 4 * d) Performance cues 4
The role of aesthetics in apparel products 5 * 3.1 The sensory dimension of the aesthetic experience 5 * 3.2 The emotional dimension of the aesthetic experience 5 * 3.3 The cognitive dimension of the aesthetic experience 5
Conclusion 6
References 7

1. An introduction: What does “product quality” really mean?
The Oxford Dictionary defines quality as “The standard of something as measured against other things of a similar kind; the degree of excellence of something; General excellence of standard or level. Many manufacturers use quality as a way to extinguish themselves from their competitors’ products.”
It is very important to differentiate between intrinsic- and extrinsic properties of clothes. Intrinsic properties are the fit and feel of the clothing item and the ability to use it for multiple wearing. It also includes the chemical and physical properties of the clothing (Kincade & Gibson; 2010:78). The extrinsic properties are how the product appears to the consumer end their feeling of wealth, luxury and status. Most of the time this includes the brand names, price and store where the items are bought (Kincade & Gibson; 2010:78). 2. Understanding consumers’ perspective:
Consumers have different ways of interpreting quality. Understanding consumers’ perception of clothing quality: a Multidimensional approach, was a study done by Mary E. Swinker and Jean D. Hines to evaluate the ways in which consumers perceive quality. A total of 146 students took part in answering questions in a questionnaire. The majority of the students who completed the questionnaire were female (93%) and most of them (96%) were between the age of 18-24. 71% of these students were majoring in fashion merchandising. 65% of the students concluded that quality is an important factor that is taken into account when buying clothes.
Although 65% may seem like a big number at first, it can be assumed that it is relatively lower than people of an older age group, for example people aged from 35-45 years of age. Because the fashion cycle has shortened over the past few years, trends have become more short-lived and it is therefore almost impossible to stay up to date on the latest fashions without spending a fortune on clothes. These students that were asked to fill in the questionnaire would then rather be affected or influenced by the fashionability of an item than the quality thereof – because they do not necessarily have the monetary funds to buy fashionable items of a high quality.
Consumer studies have shown that price is most often the biggest indicator of quality (for the consumer). Consumers assume that the more expensive the clothes, the higher the quality of the garment, and vice versa. This is not necessarily true. But, because of manufacturers being pushed to produce more at a lower cost, quality is, in many cases not the most important factor for them to take into account. Mass production and an air of “whoever can supply the certain trend at the lowest production cost will be the most successful” is a norm that is accepted in the textile industry.
According to Hines & Swinker (2006:218) previous studies about consumers’ perceptions of clothing have focused on intrinsic and extrinsic cues (concrete attributes of the product). Extrinsic cues are related to the product, and include attributes such as brand label or store where purchased, but are not a physical part of the product. Intrinsic cues, however, is a part of the product and cannot be changed without changing the product (Olson & Jacoby; 1972), and include attributes such as fabric or construction techniques.
According to Hines & Swinker (2006:219) some studies done have shown an effect of the concrete attributes on consumers’ perception of clothing quality, while others have not. For example, in studies of Dickerson (1982) and Wall and Heslop (1986), a strong relationship between country of origin and quality was perceived, while Sternquist and Davis (1986) found no relationship. There is a common perception that clothes which are manufactured in a country with “less expertise” than another country, will deliver a lower standard of clothing than a country of higher expertise. For example, clothes made in France will be perceived of higher quality than clothes made in Zimbabwe.
Respondents described quality using aesthetic, usefulness, performance and extrinsic criteria. In a study done by Hines and O’Neal (1995), four expectations that the consumer associates with high-quality clothing were identified. These four expectations include aesthetic, economic/performance, physiological and social/psychological expectations.
The second assessment of quality done by the consumer includes characteristics such as: Durability, care, comfort and appearance retention. These aspects are included in the performance and appearance informational cues used in this study.
Hines and O’Neal found that the underlying reasons why different consumers used a certain set of expectations to evaluate quality, may be because of differing personal values or norms. Personal expectations play a major role in the assessment of clothing. Each individual consumer has different criteria towards the clothes they buy. For example, mothers of children will assess a garment on quality by looking at the ease of care, whilst Fashion Buyers would perceive quality according to the durability of the garment.

Four categories of informational cues were used in the study (included in the questionnaire). These four categories include (Swinker & Hines; 2006): a. Intrinsic cues: Concrete characteristics that are inherent within the product; changing these would change the product (For example: fabric and workmanship). b. Extrinsic cues: Concrete characteristics that can be changed without altering the structure of the product (For example: brand and price). c. Appearance cues: Characteristics that affect how the product looks (For example: style and fit). d. Performance cues: Characteristics that affect how the product functions (For example: durability and wrinkle resistance).
From the theory and research relating to consumers’ decision making regarding apparel, it is clear that the assessment of a clothing item is an important step in the purchase-decision and thus includes aspects such as the assessment of the quality of the product (Fiore & Damhorst, 1992). Consumer satisfaction with apparel are influenced by the physical qualities as well as the psychological qualities of the garment. The assessment of the product is not only limited to the functional aspects, but also includes aesthetic aspects (Swan et al.; 1999).
Apparel products elicits sensory as well as emotional and cognitive reactions from consumers, which according to Fiore and Kimle (1997:4-13), usually originates from the more formal qualities of the item. Most consumers mean that it is not only the functional quality of the garment that is important, but rather the whole of the sensory, emotional and cognitive satisfaction, as it successfully provides the complete aesthetic experience.
Consumers also differ in ways in which they evaluate the quality of apparel products. Often consumers are unaware of the role aesthetics play in their apparel behaviour and are also usually uninformed about techniques for quality assessment of garments (De Klerk & Lubbe, 2004:1).

3. The role of aesthetics in apparel products:
Aesthetics are defined as the study of human reaction to the non-instrumental qualities of an object or occurrence. According to De Long (as quoted by de Klerk & Lubbe, 2004:2) there is a direct relationship between aesthetics and the way that consumers clothe their bodies - to be pleased with one’s self and to be acknowledged by others. This supports the presumption that aesthetics may, consciously or unconsciously, play an important role during the purchase and decision process to such an extent that it could overshadow other factors that should also have a role in assessing the quality of the item (de Klerk & Lubbe, 2004:2).
In addition, De Long (1998:5) states that the aesthetic experience include an experience dimension, as well as an evaluation dimension. Apparel products are assessed by the senses as well as the emotions and the mind (de Klerk & Lubbe, 2004:2). 4.1 The sensory dimension of the aesthetic experience:
De Klerk & Lubbe (2004:2) indicate that the sensory stimulation from the formal qualities of the apparel product, which include aspects such as colour, texture, line, form, rhythm, balance and proportion, can be used to stimulate the bodily senses, resulting in sensations of sensory enjoyment, discomfort or even pain. Satisfaction or dissatisfaction of the senses play an important role when consumers are selecting apparel products. 4.2 The emotional dimension of the aesthetic experience:
According to researchers such as Havlena and Holbrook (1986) and Valdez and Mehrabian (1994), the stirring of emotions and the provision of enjoyment are both important components of the purchasing process. In addition, Brown & Rice (as quoted by de Klerk & Lubbe, 2004:3) states that when consumers are assessing quality they are not only interested in the functional aspects of the apparel product, but also in the emotional dimension. 4.3 The cognitive dimension of the aesthetic experience:
Fiore & Kimle (as quoted by de Klerk & Lubbe, 2004:3), indicate that cognitive enjoyment and satisfaction occurs in the human mind. It therefore follows that the consumer creates content and meaning for him/herself from a specific apparel item (de Klerk & Lubbe, 2004:3). Fiore and Kimle (1997:45) stated that the apparel product has to communicate a message of reality - in order to provide the consumer with a cognitive aesthetic experience. Finally the apparel product should provide cognitive enjoyment to the consumer (For example: When the individual relates and recalls certain positive cognitive experiences from the past) (de Klerk & Lubbe, 2004:3). 4. Conclusion:
The conclusion that can be made from this study, is that consumers’ perception of quality is not only a mere one-dimensional field, but a multidimensional field that consist of different qualities integrating to make a most desirable piece of clothing. Personal experience and use of the garment will affect the perceived quality, as discussed earlier.
According to Fiore and De Long (as quoted by de Klerk & Lubbe, 2004:2) the aesthetic experience, which comes from an item of apparel, addresses the internal processes, the multi-sensory properties, the psychological aspects and the sociocultural characteristics of the creator as well as the observer of the product or apparel appearance. Fiore and Kimle (1997:26) support this view and point out that a total aesthetic experience includes the appreciation of the formal, expressive and symbolic qualities of a product, appearance or environment.
Aesthetic experience and consumers’ satisfaction can therefore be directly connected with the aesthetic qualities of the apparel product or appearance that is used, consciously or unconsciously, by the consumer to create a specific aesthetic appearance for herself or for others (Fiore & Kimle, 1997:26).

5. References:
Brown, P & Rice, J. 1998. Ready-to-wear apparel analysis. 2nd ed. New Jersey. Merrill-Prentice Hall.
De Klerk, HM. & Lubbe, SJ. 2004. Aesthetics in consumers’ evaluation of apparel quality: A conceptual framework. Journal of Family Ecology and Consumer Sciences, 32:1-5.
De Long, MR. 1998. The way we look. Dress and aesthetics. 2nd ed. New York. Fairchild.
Fiore, AM & Damhorst, ML. 1992. Intrinsic cues as predictors of perceived quality of apparel. Journal of Consumer Satisfaction, Dissatisfaction and Complaining Behavior 5:168-177.
Fiore, AM & Kimle, PA. 1997. Understanding aesthetics for the merchandising and design professional. New York. Fairchild.
Havlena, WJ & Holbrook, MB. 1986. The varieties of consumption experience: Comparing two typologies of emotion in consumer behavior. Journal of Consumer Research 13:394-404.
Kincade, D.H. & Gibson, F.Y. 2010. Merchandising of fashion products. Upper Saddle River, New Jersey: Pearson. P343, 552, 589.
Valdez, P & Mehrabian, A. 1994. Effects of color on emotion. Journal of Experimental Psychology: General 123(4):394-409.
The Oxford Dictionary. s.a. Quality. http://www.oxforddictionaries.com/definition/english/quality Date of access: 28 Sept. 2015.
Hines, J.D. & Swinker, M.E. 2006. Understanding consumers’ perception of clothing quality: a Multidimensional approach. International Journal of Consumer Studies. 30(2) 218-223.