服装を人間相互のコミュニケーションの媒体とする場合, 送り手の内容つまり服装で表現されたイメージが期待通りの効果をもって, 受け手に伝えられるか否かは疑問である.そこで今回の研究は婦人服が受け手である男性にどのようなイメージを持って伝えられるかを, 流行の衰退期, 成熟期, 成長期, 発生期にある服装をもって調査し, 次の結果を得た.
流行の進行段階が同一である服装のイメージの類似性は高く, 進行段階が異る服装間のイメージの類似性は低くなる.
評価項目の共通性は「かわいい」と「良い」がすべての服装において高い値を示す.
各々の服装のイメージを因子分析し, 主要因子を抽出した結果, イメージの大半は嗜好的因子, 現代的因子, 実用的因子からなることがわかった.
被験者のうち, 流行の初期採用者群と他の群では, すべての服装に対するイメージの類似性が低い.流行の関心度が高い群は衰退期, 成熟期の服装に悪い評価を下す傾向がみられ, 評価項目の得点においても流行の関心度が高い群と低い群では両者に若干の差がみられた.

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  It is generally believed that fashion had been dominated by aristocracies and the upper classes in the modern period in England. However, during the Victorian period, this norm was severely eroded by the increasing numbers of the middle classes. They began to re-interpret the fashions of their social superiors on the basis of middle-class sense of values and morality. With the help of middle-class oriented fashion magazines, new ideas about fashions became widely distributed.
  To trace this process, the author uses a variety of sources: etiquette books which were predominately read by socially ambitious middle-class people, popular fashion magazines such as the Englishwoman's Domestic Magazine, and essays on extreme fashions such as tight-lacing. The author argues that the strong sense of morality of the middle class caused people to exercise self-restraint when choosing their clothes, and strictly dictated what was appropriate to wear. These ideas were gradually integrated in forming the sense of Englishness of English dress.

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