Gerst Dissertation 19-9 Small

Knight, T. (2013) Welcoming winter. http://www.selectivepotential.com/2013_11_01_archive.html (Accessed: 8 May 2014).
QUILTED EMOTION
A Design-Led Strategy for the US Quilting Industry to
Emotionally Connect Customers to Quilted Products
Jaimie Gerst I 1314970

MA Design Strategy and Innovation
2014 Dissertation I Brunel University
1
word count: 19,544
TABLE OF CONTENTS
Acknowledgements
Abstract
Executive Summary
Introduction
Core Question
13
Methodology
18
Principal Findings
27
Analysis & Discussion
59
Recommendations
74
Conclusion
85
References
86
Appendix
GERST DSI DISSERTATION
ACKNOWLEDGMENTS
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This course has challenged me mentally, physically

and emotionally. It has made me question who I am and
who I want to be. I could not have completed this course
without the support and motivation from important
mentors, friends and family.
A special thanks to Dr. Lam for her unconditional

willingness to meet and guide me through the proposal.
John Boult, Sara Ekenger and Dr. Choi for their
challenging questions and helpful insight that allowed me
to challenge my assumptions.
Chris Holt, my supervisor and my therapist, I am so

appreciative of your constant encouragement and support
throughout the project. When I came to you for advice
after only a few months into the course, I will never forget
your words that gave me the strength to persevere while
being so far from home. Jaimie, I will be here to catch
you if you fall. Thank you Chris, for picking me up and
getting me back on my feet.You guided me to follow my
instincts and have confidence to follow through with a
topic that inspires me, and represents my passion for
creating and making. I could not be more grateful for your
listening, patience and understanding. I would not have
made it this far without you.
To my Brunel University peers, Akshara, Ionna, Peter,

and Maya, who truly understand the ups and downs of
this process, thank you for being so supportive. I am
blessed to them as my London family and lifetime friends.
To my family, thank you for believing in me at times

when I didn't believe in myself, and giving me the
confidence to complete this chapter of my life.
!
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DSI DISSERTATION GERST
ABSTRACT
PURPOSE
This research has been conducted to create a strategy to
enhance emotional value of quilted products for customers.
The purpose is to overcome the challenge of lack of
emotional value in quilted products for non-quilters. Design
will be used to strategically enhance the emotional value of
quilted products for customers. This is to benefit the US
quilting industry, designers, manufacturers, makers, and
customers, by providing them with a framework that allows
them to implement key elements needed to enhance
emotional value successfully in quilt organisations.
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CONTENTS
This report contains investigation of design strategy,
emotional design and the quilting industry. Key issues and
challenges are addressed focusing on the lack of
appreciation of these products in the marketplace, as well as
the lack of appreciation and emotional value that has evolved
from non-quilters. Primary and secondary research methods
were conducted providing in depth information about design,
brand and innovation strategy and how it can benefit the
emotional value of quilted products. Key findings are
presented, integrated and discussed, ultimately leading to a
final design-led innovation framework. Validation from key
experts will be presented.
EXECUTIVE SUMMARY
EXECUTIVE SUMMARY
INTRODUCTION
With a lack of emotional value to quilted products outside of
the quilting community, there is an opportunity to use design
to strategically improve this situation. The goal was to answer
the key research question, How can strategic design help
enhance the emotional value of quilted products for
customers?
Understanding why quilts are an American Cultural Icon and
how emotional value can be used to generate a greater
appreciation for this traditional art form for the consumer of
today and of the future. Creating emotional durability with
these objects, so they have physical longevity as well as
commercial success for non quilters, is investigated with a
design lens. The goal of this research is to answer the key
research question by achieving the research aim.
Aim
To create a design strategy for the US quilting industry

in order to add emotional value to quilted products for
customers.
Objectives
1. To investigate the history of quilts and identify why quilters
emotionally value quilted products.
2. To investigate the synergies and opportunities between
traditional and modern quilting.
3. To identify the customers perception of quilted products
and investigate their purchasing behaviour.
4. To identify how design can help enhance emotional value
to products and investigate how companies add
emotional value to products for customers.
5. To evaluate how design can enhance emotional value
throughout different stages of the quilt making, ordering
and purchasing process.
6. To create a design-led strategy for the US quilt industry, in
order to enhance the emotional value of quilted products
for customers.
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EXECUTIVE SUMMARY
Research Methodology
METHODS
Research was done with a balanced methodology in

order to cover primary and secondary research across key
methods.
DISCOVER
DEFINE
SECONDARY
-Literature Review
PRIMARY
-Exploratory
Interviews
-Participatory
Observation
SECONDARY
-Literature Review
-Case Studies
PRIMARY
-Participatory
Observation
-Workshops
PURPOSE
FORMULATE
PROJECT
To understand how
people feel, identify key
issues, narrow topic,
background
INVESTIGATE &
INTERPRET
To seek insight on
topic, understand
issues and investigate
users and current
practice
DEVELOP
SECONDARY
-Literature Review
-Case Studies
PRIMARY
-Focus Group
-Expert Interview
-Workshops
-Store Observation
INTEGRATE &
ANALYSE
To seek insight on
topic, current practice,
user expectations and
behaviour. Generate
initial guidelines and
framework
DELIVER
SECONDARY
-Literature Review
PRIMARY
-Expert Opinion
-Delphi
TRADITIONAL VS MODERN QUILTING

New Modern Quilt Movement is attracting younger quilt
maker and this bold aesthetic and playful style is lacking in
mass market quilted products.
CONSUMERS
younger appreciate unique aesthetic that reflects personal
style, typically in fashion and personal accessories. Older
consumer pays for bespoke gifts and home pieces.
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RECCOMMEND &
EVALUATE
To evaluate
framework. finalise
recommendations and
define limitations
ENHANCING EMOTION THROUGH DESIGN

connecting the consumer with designed experiences; brand
stories that reflect personal meaning tangibly through
aesthetics and function. aesthetics, story and usefulness
drive positive emotional experiences and increase value
when personal meaning and memories for the user are
generated
!
Principal Findings
QUILTERS EMOTIONAL CONNECTION
meaningful through personal process of making and creating
symbols of memories through aesthetic expression, can
translate this meaning to customers through co-creation.
QUILT MAKING ORDERING & PURCHASE PROCESS

inclusion of customer in design process and product story
with curation and guidance.
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4
EXECUTIVE SUMMARY
Recommendations
Develop emotional value through the holistic use of
design, innovation and brand
Develop relationships between designers, quilt makers
and customers
De
s
DE
SIG
N
EMOTIONAL
VALUE TO
QUILTED
PRODUCTS
SIG
DE
ON
io n
Tech
n
olo g y
EM
I
OT
ul
n gf
Me a n i i c
t
e
Aest h
ti
nc
Fu
on
NO
AT
I
AL
IN
at
Pers
onal
S tory
ESS
CC
SU
Organis
atio
n
tomer
Cus
BR
AN
D
els
nn
re
-C
Co
Service Design: Provides

memorable, positive, new and
meaningful service interactions
with employees
Co-Creation: Provide new
meaning with the option to
contribute to making and
designing process of quilted
products
Technology: Platforms that
provide customisable and
personalised products in a simple
fun way in store and Online
ce
erien
Exp sign
De
Provide innovative
interactions with
products and
organisation by:
e
S ervic
n
D esig
Create desired memorable

experiences through personal design
of aesthetics, function and story.
Brand Communication:
Communicate cohesive brand
visually and verbally across all
touch-points in multiple ways
from first interaction to packaging
design, for loyal return customers
Channels: multi-channel sales,
range of retail stores and Online
that fit brand
Experience Design: Provide
personal memorable brand
experience reflecting quality and
creation process
ESS
OC
PR
provide innovative quilted products

and processes with new meaning for
the customer
Create ongoing brand

success through:
er
ign
Utilise technology to facilitate online

and retail store personalisation!
Ch
a
Provide customers with the opportunity

to co-create in a fun way to generate
intrinsic meaning in products!
Quilted Emotion: A Design-Led Innovation Framework
Bran
Commun d
icati
on
Include customers in the design

process to generate personal meaning
relevant to their experiences today
Begin by creating a
holistic design
process by:
Organisation: Implementing
design at management level from
concept to final quilted product
and home use
Designer: Integrates
organisational and customer
needs, and curates designs while
manufacturing feasibility
Customer: Clearly defined and
voice heard through including
them in the design process.
Ignite emotion
through designing
tangible product
elements by:
Meaningful Aesthetic:
Fabrics, colors and patterns
reflect consumers personal style
Function: Range of products
that are useful and satisfies
consumers expected needs,
desires and lifestyle
Personal Story: Product
becomes a symbol for consumer,
facilitating an embedded
personal story, and sparking
memories
INTRODUCTION
INTRODUCTION
RATIONALE
This section explains the research area of emotional
design, strategic design and the quilting industry. The key
problems in the quilting industry, specifically the quilt
category, and challenges emotionally connecting customers
to quilted products were investigated.
Opportunities for applying design-led innovation to
strategically enhance emotional value of quilted products for
customers was addressed. Documentation of existing work in
strategic and emotional design helped to understand how it
has been used to create innovation and emotional value.
Similarly, a holistic evaluation of the quilting industry has been
investigated. This review was the core element in developing
the research plan and project.
heirloom that can be handed down and improves as fabrics

soften, fade and age (Booth, 2013).
INDUSTRY & MARKET// AREA OF RESEARCH

There are about 21 million US quilters, and 14% of
households have at least 1 quilter (Creative Crafts Group,
2010). The market is made up of customers who buy
materials and tools to quilt (figure 1). 6.2% of quilting
households are dedicated female quilters, with 16 years
Area of Research
QUILTING
Quilting is an art, craft, hobby, pastime, therapy and
outlet for creativity (Wadley, 2011). More than just bed
coverings, they are political statements and keepers of
history (Fitzpatrick, 2013). Traditionally quilts were created
among friends and family, made from reused fabrics that had
special meaning (Booth, 2013). A handmade quilt is an
object that holds with it personal meaning and stories, an
Figure 1: Quilting essentials: basic quilting tools and

materials (Smart, 2010).
INTRODUCTION
experience, age 62 and a combined spending of $2.5 billion
(figure 2) contributing to the $3.58 billion industry (figure 3)
(Creative Crafts Group, 2010).
Interest in sewing and crafts has been increasing and
this $30 billion industry remained strong during the recession,
but is only expected to increase by 0.7% annually through
Figure 2: Majority expenditures is because of only 6.2% of

quilters, leaving 93.8% who spend little on quilting (Creative
Crafts Group, 2010).
2017, particularly with baby boomers taking up hobbies with

disposable income (Leonard, 2012). However, sewing is
increasing and becoming mainstream among younger
people (Leonard, 2012) and sewing store owners noticing the
first generation who are not learning to sew from relatives or
teachers (Leonard, 2012).
Figure 3: Quilters declined in 2010, but

dedicated sustained market value
(Creative Crafts Group, 2010).
INTRODUCTION
Key/Real Problems & Challenges
!
OUTSIDERS
Today, quilting provides an emotional connection to
quilters, however outsiders do not understand why quilters
spend time and money creating quilts when buying one is
cheaper and faster (Stalp and Conti, 2011), lacking an
emotional connection to these quilted products. With the US
importing cheap goods and Americans disposable fashion
mindset (Funt, 2013), sewing has not been essential since the
1960s (Highbeam Business, 2014) and US quilters declined
by about 5 million since 2006 (Cox, 2013).
With this cultural shift occurring, a problem is gaining
interest in quilting and quilted products from non-quilters.
With mass produced quilted products that are cheap and
imported, there is a cheaper option to fill the functional needs
of quilted products. Because quilts are so much more than
objects that just provide warmth, keeping the awareness of
craft alive and encouraging involvement is essential, in order
to pass on the traditional crafts of experts who are nearing
the end of their career (Fitzpatrick, 2013).
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LOW EMOTIONAL VALUE

Quilters typically must defend their craft, and with
young people returning to craftsmanship the significance of
quilts as the centre of American culture should be understood
(Zoellner, 2012). Quilting is womens art and with a
domestic origin it is undervalued in the marketplace and
still lacks respect and appreciation (Fitzpatrick, 2013). As
this traditional craft is not needed today, the challenge is how
to gain outsiders respect and appreciation for a modern
audience.
SELLING QUILTED PRODUCTS

Selling custom quilts for a living is almost impossible
(Why Quilts Matter, 2013). Outsiders lack the connection to
quilted products that quilters have, therefore low emotional
value drives unfair purchase prices and lack of appreciation
(Kirk, 2014). A key issue is understanding how this emotional
state can be enhanced in a positive way, as well as how new
meaning can be generated in these products for a modern
audience.
EMOTIONAL DESIGN
Designing for emotion is an area that is currently
challenging. There is a lack of knowledge of how people
emotionally react to objects and what elements create an
emotional reaction for the user (Desmet, Overbeeke and Tax,
INTRODUCTION
2001). Because of this, understanding how to use design to
to trigger an emotional connection for non-quilters, and
generating this connection will be a challenge.
Opportunities
With quilting transforming from necessity to hobby,
there is an opportunity to design an innovative strategy to
emotionally connect customers to quilted products,
increasing interest and awareness of this traditional craft
and art for those outside of the quilting community. !
MARKET DESIRES
!
With an opportunity in the quilting industry, design can
be used to engage a new market through innovation
(Lockwood and Walton, 2008) because when design and
strategy methods are combined, the result is market success
(Chhatpar cited in Lockwood and Walton, 2008). Similarly,
hand-crafted items have economic value and there is
demand and willingness to pay more for quality bespoke
pieces with a story and tradition (Fitzpatrick, 2013).
Therefore, there is an opportunity to design for this group that
is regaining interest in products that have meaning.
DESIGN
Designers create products that fit user emotions
(Desmet, Overbeeke and Tax, 2001) and design thinking is
a way to identify challenges and opportunities to plan for new
solutions (Lockwood and Walton, 2008). According to David
Chapman, author of Emotionally Durable Design, design can
result in products with physical and emotional longevity
(Chapman, 2005). Transferring this emotional connection
from quilters to the customer is a white space in the market
and quilt category that has the potential to be filled.
EMOTION
Emotional value is growing in importance because it
generates sales and customer loyalty (Barlow and Maul,
2000). According to Mark Wheedon from Frog Design,
people are craving the tangible, with the rise of emotionally
driven customisations and stylised imperfections (Frog,
2014). Therefore, research will focus on emotionally
engaging the customer to quilted products through
innovative thinking to focus design as a main driver.!
INNOVATION
!
Innovation and design would benefit the customer
educating them about the time, effort and cost required to
create quality quilts, providing meaning to quilted products
that quilters posses. Because design-driven innovation can
10
INTRODUCTION
be utilised to create unexpected meaning for the user
according to Roberto Verganti (2009), it seems innovation
could be used to enhance emotion in quilted products for
customers. Similarly, this would result in increased value of
quilted goods by those who lack appreciation and emotional
connection benefiting the quilter. Ultimately, the quilting
industry would improve, bridging the gap between
designer, maker and customer. This could increase sales of
handmade quilted products and attract a younger audience
who may not have been exposited to the historical and
cultural significance of quilted products.
Motivations
Research is motivated by personal interest, as well as
the opportunity to design emotion for customers and expand
the market and US quilting industry.
TARGET AUDIENCE
Focus will be on current customers and those who are
outside the quilting community, who may be nest building
and creating their first homes and families. People younger
than the average quilter who are age 20-55, may not have
been exposed to quilting in school or from family. Capturing
this audience who are unfamiliar with quilting and lack an
emotional connection is the motivation for strategic design.
Figure 4: My first group charity quilt
11
INTRODUCTION
PERSONAL MOTIVATION
I took a Quilting and Communities class that focused
on the significance of quilts to history and American Culture.
Myself and classmates, even male, grew to appreciate this
art form and also made quilts for charity, learning from
experienced quilters (figure 4-5). Our emotional connection
was generated through education and making these
symbolic objects ourselves. This leads to question how to use
design to enhance this emotional value for customers and
non-quilters.!
SUMMARY
!
Based on the discovery of the strong emotional
connection the quilting community has with quilted products
versus the lack of emotion between people outside of this
community, there is a gap in the market for quilted products
that have emotional value for customers who are non-quilters.
Figure 5: My second quilt for

Crouse Hospitals Neo Natal
Unit, collaboration with
Hendricks Chapel Quilters
12
CORE QUESTION
13
CORE QUESTION
SECTION RATIONALE
Based on key problems and challenges in the US
quilting industry, the key research question and its
significance will be explained. Key objectives needed to
answer the key question and achieve the aim will be
addressed, as well as the scope and main focus of the
research.
Key Research Question

How can strategic design help enhance
the emotional value of quilted products
for customers?
Aim
To create a design strategy for the US
quilting industry in order to add
emotional value to quilted products.
!
The research will focus on developing a design
strategy for the US quilting industry. Fulfilling six key
objectives will ensure that proper research is conducted and
focused on answering the key research question in order to
fulfil this aim.
The core question for research is to understand how

quilted products made today can have enhanced emotional
value for customers, particularly those outside of the quilting
community who may lack a personal connection to these
objects.
Answering this question is significant because in the
US, understanding how to generate emotional value could fill
the white space in the quilt category, where quilts are seen as
objects of mere warmth, and innovatively create new
meaning to users today.
14
CORE QUESTION
Objectives
Key objectives will provide a greater understanding of

designing for emotion and the quilting industry. Also,
understanding customers and and the current opportunities
for strategic design must be identified. Ultimately, these
objectives will lead to a solution to my key research question
that fulfils the aim of this research.
1. To investigate the history of quilts and identify why quilters

emotionally value quilted products.
2. To investigate the synergies and opportunities between
traditional and modern quilting.
3. To identify the customers perception of quilted products
and investigate their purchasing behaviour.
4. To identify how design can help enhance emotional value
to products and investigate how companies add
emotional value to products for customers.
5. To evaluate how design can enhance emotional value
throughout different stages of the quilt making, ordering
and purchasing process.
6. To create a design-led strategy for the US quilt industry, in
order to enhance the emotional value of quilted products
for customers.
15
CORE QUESTION
Scope & Main Focus
The scope of this research will be understanding all

aspects of current quilted products, current and future
customers and design strategy. The main focus will be to
discover a strategic and innovative way to create emotional
value, affecting quilters, designers, retailers and customers.
Researching the process of quilting, mass producing

quilts and selling quilts will uncover potential areas for
innovation and design. The goal is to gain understanding of
why quilters and quilt buyers appreciate quilted products and
how to translate this meaning for a group of customers who
do not currently buy handmade quilts.
Quilted
Products
Emotional
Value
Design
Strategy
This is because quilting is a traditional American craft

and art worth keeping alive. With a lack of emotional
connection to quilted products, understanding the needs of
key stakeholders and opportunities for using design and
innovation to capture US customers is essential. Quilted
products and quilters deserve respect and appropriate sales
for their skills and work, however several mass produced
quilts are made and bought as well.
Customers
Currently, it is difficult to find a connection between

users emotional reaction and product design features
(Desmet, Overbeeke and Tax, 2001), therefore further
research is necessary to understand how to design products
with an emotional connection. The goal is to create
recommendations for strategic design to provide products
that have more personal significance to customers who
currently use quilts simply for warmth.
Overall, there is escalating interest in understanding

perceived value and it is on the Marketing Science Institute
16
CORE QUESTION
list of future research priorities (Scridon, 2013). However,
there is a lack of knowledge of how people emotionally react
to objects and what elements create emotional triggers for
the user (Desmet, Overbeeke and Tax, 2001). Also, there is
lack of research and agreement of how to handle the concept
of emotional value (Scridon, 2013). Understanding this
element will also be a key topic area in research in order to
complete the aim and answer the key research question.
SUMMARY
In order to conduct appropriate research, a clear
methodology must be followed. This will be used to conduct
research to solve the key research question and fulfil the aim
of the research. Key topics about quilting, emotion and the
use of design will be the focus of research. The objectives will
be completed by undergoing the planned methodology that
explains key research methods needed to implement a
successful design strategy for quilted products.
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METHODOLOGY
18
METHODOLOGY
OVERVIEW
This section will outline the overall research plan and
justify selected research methods. Each method will be
discussed with an emphasis on data collection, intended
goals, research management and research organisation.
19
METHODOLOGY
METHODS
Research Plan
DISCOVER
DEFINE
SECONDARY
-Literature Review
PRIMARY
-Exploratory
Interviews
-Participatory
Observation
SECONDARY
-Literature Review
-Case Studies
PRIMARY
-Participatory
Observation
-Workshops
PURPOSE
FORMULATE
PROJECT
To understand how
people feel, identify key
issues, narrow topic,
background
INVESTIGATE &
INTERPRET
To seek insight on
topic, understand
issues and investigate
users and current
practice
DEVELOP
SECONDARY
-Literature Review
-Case Studies
PRIMARY
-Focus Group
-Expert Interview
-Workshops
-Store Observation
INTEGRATE &
ANALYSE
To seek insight on
topic, current practice,
user expectations and
behaviour. Generate
initial guidelines and
framework
DELIVER
SECONDARY
-Literature Review
PRIMARY
-Expert Opinion
-Delphi
RECCOMMEND &
EVALUATE
To evaluate
framework. finalise
recommendations and
define limitations
20
METHODOLOGY
Objectives & Methods

RY PRIMARY
DA
SECON
OBJECTIVES
1
2
3
4
5
6
Focus
Store
Literature Case Participatory Expert
Workshops
Observation
Review Studies Observation Interview Group
To investigate the history of quilts and identify

why quilters emotionally value quilted products.
To investigate the synergies and opportunities
between Traditional and Modern quilting.
To identify the customers perception
of quilted products and investigate
their purchasing behaviour.
To investigate how design and
companies can enhance emotional
value to products for customers.
To evaluate how design can enhance emotional
value throughout different stages of the quilt
making, ordering and purchasing process.
To create a design-led strategy for the US
quilt industry, to enhance the emotional
value of quilted products for customers.
21
METHODOLOGY
Detailed Methodology
!
!
38 Journals and Web Articles
5 US Product Design Students
19 Books
7 Potential Customers non-design
15 Magazines
7 Global DSI/ DBS MA Students
PARTICIPATORY OBSERVATION
STORE OBSERVATION
5 London Modern Quilt Guild Meetings
7 Home and Bedding Store Observations

5 Quilt Retail Observations
EXPERT OPINION (24)
2 Gift Retail Observation
22 interviews
3 Museum Visits
Fabric Distributers, Manufacturer,
CASE STUDIES
Quilters, Quilt Designers,
Design Within Reach
Emotional Designer Quilt Makers,
Build a Bear Workshop
Store owners
Cath Kidson
Otter Box
FOCUS GROUP (1)
!
!
CREATIVE WORKSHOPS (3)
LITERATURE REVIEW
Design, Brand, Innovation Strategists,
!
!
7 Potential Customers
Folk Fibers
Haptic Lab
Gees Bend
22
METHODOLOGY
Methods
LITERATURE REVIEW
A literature review is essential to generate new ideas
based off of existing concepts and understand the current
situation. Exploring broad issues about quilting and emotional
value of products for quilters is needed for decoding how this
relationship can be experienced those who purchase quilts in
order to generate commercial success. Investigation of
traditional and modern quilting is necessary to discover
opportunities and identify key aspects of quilting for the
customer to understand.
To insure that the focus is design, innovation and
strategy, these elements will also be researched to
understand key existing techniques, as well as expert
perspective. This is to achieve justification and definition of
the user, choice of expert interviews and articulation of
questions for workshops and focus groups. Case studies will
be based off of this research in order to select the most
beneficial organisations.
This secondary research method will help to map
existing theories and research gaps to creating a design-led
innovation strategy. It will be obtained from journals, books,
newspapers, annual reports, websites, blogs and magazines.
Research will be managed by referencing reliable sources
and fulfilling objectives that require secondary research. Data

will be organised by topics that directly reflect objectives
about quilted products, customers, current organisations,
emotional value, and the use of design, innovation and
strategy.
PARTICIPANT OBSERVATION
Observation and membership to the London Modern
Quilt Guild will be used as primary research throughout the
project to achieve understanding of quilters emotional
connection to quilted products and the Modern Quilt
Movement. Monthly insight will provide meaning through
understanding the lives of quilters, quilt making, selling
process, commercial needs, online communication (figure 11)
and opportunities for strategic design. This method was
chosen to understand quilters' culture, community, needs and
experience connecting with outsiders and customers.
The data will be managed through photography, blog
following, participation in activities, voice recording and
noting key findings. Research will be organised through
tracking personal stories and key terms that communicate
emotional connection to products. This insight will also
contribute to an understanding of a community of quilters and
its relationship to commerce for a London Modern Quilt Guild
case study.
23
METHODOLOGY
EXPERT INTERVIEWS
22 exploratory and in-depth interviews were
conducted to obtain rich data. Most were localised to the US
and done face to face. Skype was also used when meeting in
person was not feasible.
Questions began discussing meaningful objects in

general and telling stories of what was each persons favourite
object they owned and why. Discussion about how it made
them feel followed to discuss emotional connection and
reactions.
Experts in design, innovation and brand strategy,

those who make and sell quilted products (mass produced
and handmade) were interviewed. Also, experts in gift and
home decor industries were interviewed to gain a holistic
perspective on commercial potential, current design
processes, and consumer insight. Participants were selected
by determining experts in that fulfilled categories in each
sector.
After, quilting was discussed. Initial reactions were

discussed to understand how non-quilters perceived quilting
and then how they felt about aesthetics and function. The
final discussion consisted of what existing objects they own
that are quilted and what they would like to own. Aesthetics,
function, and meaning of objects were discussed. Desires in
products were talked about together for insight in potential
areas for innovation.
FOCUS GROUP
A focus group was selected to gain in-depth
understanding from an intimate group of potential customers
who are non-quilters from the US in their early 20s to mid 50s
to understand a younger market that currently purchases
mass market goods.
It was recorded and organised in an open discussion
to understand meaningful personal objects and purchase
behaviour. Questions were predetermined but discussion
was open in order to allow the focus group to feel like a
comfortable conversation versus a strict question and answer
situation.
This same group was used in a creative workshop to

test and brainstorm desires, needs and preliminary strategic
recommendations.
STORE OBSERVATION
Store observation was conducted in a range of store
categories primarily in New York City, US. Stores ranged from
high end luxury to mass market affordable shopping in quilt
making, gift, and home. Retail store environments were
chosen based on product category, selling a range of
handmade and mass produced quilted products. The
Primary Essentials, West Elm, and ABC Carpet and Home
24
METHODOLOGY
were chosen for their range of environments and product
lines.
Customer purchase behaviour was a goal, researched
by following the customer journey in store. This exploration
was to understand target customer and the experience
service provided for them. Also, understanding of the
customer that each retail store was trying to targeting was
gained by talking to staff in some stores. A visual design
audit was conducted by noting and photographing design
details in store to understand positive and negative aspects
of the design of the products and the environment.
Research in each store was the same, in order to
comparatively analyse research findings. Customers, design,
and environment were all observed to achieve understanding
of opportunities in the customer journey to emotionally
enhance the connection with quilted products.
CREATIVE WORKSHOPS
Creative workshops were chosen in order to get
concentrated information and co-create with users to
understand needs and opportunities for user centred design.
Three workshops were intended to provide primary user
research and understanding of behaviour and desires
through brainstorming, co-creation and collaborative
innovative thinking.
The participants were selected with a range of age

and genders in order to gain a broad perspective of user
needs and confirm the target user. Groups of 5-8 participants
provided an intimate environment to yield multiple
perspectives, to understand views about quilted products
and to provide insight for case study selection.
The first workshop consists of US designers in their
early 20s to understand the perspective of potential
customers outside of the quilting community who appreciate
design. Second, in order to understand people who are in the
nesting phase of their life, designers in their mid 20s and
early 30s were selected. The final workshop was with those in
their early 20s to mid 50s with a range of income and careers
to understand the everyday mass-market customer.
Workshops were designed to promote creativity
through intimate guided discussion. Participants ranked the
presented quilts by cost, preference and perceived emotion.
Discussion of likes and dislikes was to achieve understanding
of emotional and functional desires in objects.
A magazine search and mood board creation of liked
and disliked objects was intended to understand aesthetic
preference. The workshop concluded with participants
designing desired future quilted products for a holistic
understanding of desired designs.
25
METHODOLOGY
The research was organised in phases to gain
individual desires, motivations and functional needs of
purchase.
CASE STUDIES
Case studies were used to investigate a range of
current organisations and their methods for creating
emotional value for customers in organisations. To gain
holistic perspective, US organisations were selected both
inside and outside of the quilting industry.
This method was employed to generate potential
recommendations and inspiration from key topic findings on
brand, design, in store experience, personalisation and
communities. Therefore, Design Within Reach, Build-a-Bear
Workshop, Otter Box, Cath Kidson, London Modern Quilt
Guild, Folk Fibers, Haptic Lab, and Gees Bend were chosen.
They differ in how they make and sell products, target
customers, and use design in store and online.
SUMMARY
Creative thinking has been used to create connections
between methods and final outcomes. A multifaceted
research plan included literature review, participatory
observation, store observations, a focus group, workshops,
expert interviews and case studies. A range of authors,
academics, industries and user groups were studied in an
innovative manner using multiple creative methods of
engagement.
Each step was organised to ensure proper data was
generated. Key findings on the quilt making process,
commercial applications, and customer insight needs to be
presented to document information that was achieved from
each method. These methods relate to the context of how
strategic design to enhance emotional value of quilted
products for customers.
Research about strengths, weaknesses and how they

create emotion will be analysed to understand consumers
and industry needs; inspiration for creating an innovative
design-led strategy.
!
!
!
26
PRINCIPAL FINDINGS
!1
27
PRINCIPAL FINDINGS
OVERVIEW
Next, principal findings from each method will present
what was discovered when research was collected. Each
method will contribute to data needed to fully achieve the aim
and objectives.
!
!
Literature Review
ORIGIN
Figure 6: Quilt layers (Tutman-Oglesby, 2014).
Quilting has a long US history and

dynamic significance. European women first
made bed quilts by layering fabric (figure 6)
and quilting it together, a Chinese technique
used to make warm clothing (figure 7)
(Hinson, 1970). European quilts were
traditionally made of a whole cloth top,
showing status through length of weaving
and material (Hinson, 1970). Conversely,
American quilts typically have a patchwork
top (figure 8), hand quilted together for
strength and durability (Mulholland, 1996).
American patchwork began in 1620,
when English Pilgrims brought quilts to
America and worn bedding needed to be
patched to endure winters (Hinson, 1970).
Figure 7: Hand quilting layers, white

stitch pattern (Humphry, 2014).
Figure 8: Patches sewn into quilt

blocks, which will be sewn together to
create a patchwork top (Szchnyi,
2013).
28
PRINCIPAL FINDINGS
This domestic activity came from the cloth shortage in the
1660s when colonists were forbidden to make cloth and had
to use old clothes for fabric (Mulholland, 1996). Eli Whitney
invented the cotton gin in 1793, providing the US with the
ability to make cloth and a loved handicraft emerged from the
necessity of the pilgrims journey (Hinson, 1970).
After the Industrial Revolution, the US became the
global centre of quilt making and women quilted from all
different classes quilted (Gunn, 2011). Female crafters were
seen as experts by their community and making allowed
them to be creative, save and earn money, socialise with
others and transfer skills and tradition to future generations
(figures 910) (Mason, 2005).
HISTORY OF TRADITIONAL QUILTERS & EMOTION

Quilters have continued to be emotionally attached to
quilts throughout history. US Crazy Quilts were randomly
patched together, allowing women to contribute to the family
by providing bedding (figure 11) (Hinson, 1970). When cloth
was available, patchwork quilts were designed with a pattern
for home decoration and creative expression (Gunn, 2011).
These quilts also symbolised status and the lone star
pattern was seen as a prestigious masterpiece (figure 12)
(Hinson, 1970). These took time, effort and skill, giving
production alone value (Gunn, 2011).
Figure 9: Quilting bees are a traditional setting for women to

swap stories. Here Doris Ellzey, Dovie Flores, Opal Clower,
and Ivy Solis, also known as the Los Adais Quilters,
demonstrate their skills at the Sabine Parish Fair (Lee, 1990).
Figure 10: Quilting

baby quilt on
large wooden
frame: Modern
quilting bee
(Roher, 2011).
29
PRINCIPAL FINDINGS
Historically quilts have been about moral value. Middle
upper class women were not allowed to be paid for work until
the mid 19th century, so value remained in the emotional
aspects, despite their economic worth (Higgs and Raddosh,
2012). These became family heirlooms, handmade by women
for family events, cherished for their stories and passed
down the female line (Higgs and Raddosh, 2012). The
meaning is in the relationship between maker and gift
receiver, ending in a symbolic object, created for love and
pleasure not for commodity (Mason, 2005).
Families and women valued quilts because
they were created by skilled family makers
and even when style shifted they were kept,
unlike clothes (Gunn, 2011).
When males dominated fine arts,
domestic arts were where women showed
their design talent, creating quilts for
charities, social and political expression
and causes (Gunn, 2011). Women's
perspective of history can be decoded from
quilts (Hinson, 1970). For example, American
women sent quilts to Europe during WWII,
sending a valuable custom gift created with
love, valued more than money (Gunn, 2011).
Similarly, quilts were memorials for lost loved
ones, like the NAMES quilt for AIDS,
representing a global epidemic and providing therapy for the

grieving maker (figure 13) (Gunn, 2011). Quilts are
ethnographic artefacts marking experiences and important
people (Higgs and Raddosh, 2012).
QUILTING DECLINE
In the 1960s, home sewing declined because the
number of working mothers increased and buying imported
clothing was cheaper, faster and easier than making them
Figure 11: Crazy Quilt by Mary

Chappell Hunt, pattern from
patching holes (Higgs and
Raddosh, 2012).
Figure 12: Lone Star quilt hand pieced and

quilted in Pennsylvania (Orndaoff
1930-1949).
30
PRINCIPAL FINDINGS
(Highbeam Business, 2014). Similarly, in 2005 young females
showed a declined interest in learning home crafts from
mothers and grandmothers, rejecting traditional female
skills (Mason, 2005). Not only did interest in change how
people were learning, but also commodification created
marketing within the leisure industry and people learned
through magazines and TV instead (Mason, 2005).
MODERN MOVEMENT
The Modern Quilt Movement began in 2008, attracting
a younger tech savvy group who learned quilting online, from
blogs, youtube, Pintrest and Instagaram sharing (Cox, 2013).
According to Luna Rubin co-owner of e-quilter.com, Modern
Quilting is a small niche in complex quilt market, but has the
potential to attract new quilters (Cox, 2013). Modern
quilters follow fabric trends, create bold designs and graphic
shapes (PR Newswire, 2013a). The work is innovative, edgy,
simple, social commentary, with a separate Modern Guild
consisting of 136 US branches and 44 abroad (figure 14)
(Cox, 2013).
Figure 13: NAMES quilt, Washington DC

with each quilt block made for an AIDs
victim (Names Project Foundation, 2011).
The first Modern quilt show was QuiltCon in Texas in

2012 and with over 6,000 people, 42% were under age 45
(figure 15) (Cox, 2013). Modern Quilting has a no rules
mentality, which opened this prestigious art to many who may
have been intimidated, giving them freedom to innovate
(Frank, 2011). The average modern guild member is mid 30s,
31
PRINCIPAL FINDINGS
works, lives, and quilts alone (Frank, 2011).
Figure 14: LA Modern Quilt Guild, a younger than traditional

guild innovative designs (Courte, 2013).
Some quilters think the shortcuts of modern quilting

take away from the traditional craft (Carlton, 2014). However,
there is much that the traditional skilled quilter could still learn
from the Modern Quilter (Frank, 2011). Both have quilting
bees, where women meet and sew together, with an average
age of 59 who attend (Hall, 2008). The Modern quilter
typically interacts with a younger community who
communicate on the computer (Frank, 2011). Modern quilting
provides fast, easy quilt options like Jenny Doans one day
quilts that are less intimidating to make (Carlton, 2014).
CUSTOMERS: HANDMADE AND MASS PRODUCED

QUILTS
Figure 15: QuiltCon quilters: vendors display, quilters compete,

run workshops and more (Walters, 2013).
Amish quilts are valued by collectors for their quality,

aesthetic designs and simplicity, a lifestyle that many
Americans desire, creating value in Amish goods (figure 16)
(Hawley, 2005). Even though quilts became an American
icon with time, in the early 90s mass produced, low quality
imported quilts were sold for cheap prices, yet they were of
high demand (Gunn, 2011). Some people were furious
because this seemed unAmerican and they rebelled. This
group formed the American Quilt Defence Fund to bring
attention to quilts and gain recognition of their importance
(Gunn, 2011) .
32
PRINCIPAL FINDINGS
Figure 16: Traditional Amish quilt pattern and colours

$1,025 online shop (Amish Quilt Shop, 2014).
According to Thomas Knauer, a quilt designer and

author, honest reproduction quilts can expand the historical
importance of quilts, despite how they are made, however
generic mass produced quilts only have economic value
because they imitate handmade (figure 17) (Why Quilts
Matter, 2013). Similarly, home objects have meaning because
of their functional use and personal memory they symbolise
(Mason, 2005). Conversely, the benefits of craft come from
the contribution made from the user during creation (Carlton,
2014). However, at the grassroots level in America quilts are
Figure 17: Kanuer: barcode Mass produced quilt, defending

handmade (Tompkins, 2013).
33
PRINCIPAL FINDINGS
still valued representing heritage, freedom, charity and
opportunity (Gunn, 2011).!
STIGMA
Some quilters hide their identities from family and
friends because of the negative response they sometimes
receive (Marybeth and Conti, 2011). Men only make up 1% of
quilters (Hall, 2008), and some feel there is a strong
stereotype that quilting is inappropriate for them because the
process is feminine including shopping, designing, sewing
and ironing (Marybeth and Conti, 2011). According to
Marybeth and Conti, quilting is a highly feminized activity,
and with it comes patriarchal-based devaluation of womens
labor (Marybeth and Conti, 2011). The CEO of the National
Quilt Museum, Frank Bennett explains that quilting is globally
misunderstood but expanding art form (PR Newswire,
2013b). He states that because of the materials used and
artist are primarily women, quilting does not get the respect it
deserves and in order for popularity to increase these
stereotypes need to be overcome (PR Newswire, 2013b).
Quilting is also a craft, and craft has always been
devalued in art and design and unfashionable since its
decline in school education (Mason, 2005). It was not until
1973 when the journal Signs showed the first appreciation for
quilting as art, rather than function (Higgs and Raddosh,
2012).
PURCHASING BEHAVIOUR
There are some who buy handmade quilted products.
Typically, Amish quilt customers are collectors who purchase
to immerse themselves in a new culture, sustaining the Amish
community by contributing financially (figure 18) (Hawley,
2005). Although this is a small group of people who collect
quilts, the slow design movement is increasing as a result of
the modern fast pace lifestyle (Swengley, 2010) Traditional
folk art techniques from patchwork and quilting are even
being used by fashion designers in collections today
(Karimzadeh, 2014).
Figure 18: The Quilter's Apprentice, passing on traditional Amish

quilting skills (Coleman, 2012).
34
PRINCIPAL FINDINGS
2013). Today, guild members gain an audience from quilt
shows at schools and churches. These quilts are mainly hung
on walls in museums and homes versus used on beds (Gunn,
2011). Therefore the audience is not allowed to touch these
quilts and is expected to view them as art verses utility.
EMOTIONAL VALUE: DESIGNING THE INTANGIBLE
Figure 19: Website, online modern and traditional quilt sales

(Denyse Schmidt Quilts, 2014).
Denyse Schmidts modern luxury quilts sold for more

than $1,000 a quilt (figure 19), until the US economy and
luxury sales dropped (Mc Girt, 2003). This forced her to
diversify and license her designs to manufacturers to mass
produced and sell goods such as aprons, tabletops and
stationary goods at lower prices (Mc Girt, 2003).
However, due to recession combined with fast paced
lifestyle, all ages have a growing desire to connect with the
tangible (Frog, 2014). People are rediscovering craft and the
satisfaction and accomplishment making delivers (Fitzpatrick,
Emotional value is the economic worth of positive

feelings that customers experience when they deal with all
aspects of an organisation (Barlow and Maul, 2000). This
value is intrinsic, based on consumer experience and is the
ultimate purpose of the customer journey (Scridon, 2013) .
This justifies why emotion comes from the intangible aspects
of products. (Desmet, Overbeeke and Tax, 2001).
Andrei Scridon, explained Hartmans value framework
and one aspect was the intrinsic value of an object or how it
connects to people, this component was later adapted by
Mattsson, where he referred to this as creating value through
emotion, or generating feelings for the user (Scridon, 2013).
By creating emotionally durable design the bond
between the user and the object is strengthened, extending
use and meaning (Webb, 2013). Scridon explains it is a key
element in meeting purchase goals and expectations of the
user in order to gain their loyalty and trust (Scridon, 2013).
35
PRINCIPAL FINDINGS
Donald Norman, a key author in emotional design,
argues the emotional side of design may be more critical to
product success than its practical elements (Norman, 2004).
Similarly, negative aspects of a product are commonly
overlooked if the object creates a positive feeling for the user.
It is proven by neuroscience that without emotions there
would be no way to make decisions (Norman, 2004).
(2001). This is because an emotional response is created

from the meaning that a product delivers to the user, not the
way in which the features are designed (Desmet, Overbeeke
and Tax, 2001). Norman explains that beyond design a
personal connection is essential and favourite objects are
symbols of memories and stories that emotionally engage
the user through personal meaning, but this component can
not be generated by the designer (Norman, 2004).
DESIGNING EMOTION
Similarly, David Chapman author, explains that the

future of design for consumers will need to be designed for
empathy to create lasting experiences and objects because
of their connection to the user (Chapman, 2005). This is
relevant and needed in objects because Chapman states
today, empathy is consumed not so much from each other
but through fleeting embraces with designed
objects (Chapman, 2005).
Understanding how to design emotion into products is

essential. David Normans theory explains that multiple
components are needed to create this connection (Norman,
2004). The product design must be successful at the visceral,
behavioural and reflective level to create a complete
experience (Norman, 2004). Visceral is about the
appearance of the design ,where behavioural is the
effectiveness of use and last, reflective consists of the
relationship, story, and satisfaction it gives the user (Norman,
2004). These three levels have to function well within the
cognitive and emotional systems, two inseparable
components which are crucial to feelings and decision
making (Norman, 2004).
According to Pieter Desmet, Kees Overbeeke and
Stefan Tax, designers create emotional value in products
using design and it is key that they understand what the user
feels is lacking in order to create the correct emotional fit
The designer must carefully decide design elements

that effect emotion such as material, marketing and
practicality. Additionally ease of use is an aspect that many
neglect, that generates intense emotional connection
(Norman, 2004).
The product must also be attractive, fun, pleasurable,
effective, understandable and priced appropriately. Products
of high quality, simplicity and efficiency are most successful
(Norman, 2004). These elements are similar to Holbrook's
theory, an author in perceived value, that emotional value or
36
PRINCIPAL FINDINGS
intrinsic value comes from designing through play,
aesthetics, ethics and spirituality (Scridon, 2013).
The personality of a product must also be cohesive
with the company and brand (Norman, 2004). Brand creates
and guides emotion and can encourage or discourage
product purchase if the message and design is not
cohesive (Norman, 2004). Also, understanding the audience
is essential in order to satisfy them. If there are many users,
then a selection of products should be designed (Norman,
2004).
Researching key authors in emotional design, it was
evident that product design alone is not enough to create
emotion. Aesthetic and functional needs must be met, as well
as objects that reflect the customers story tangibly.
People dont buy products, they buy emotion created from
positive experiences with companies, memories, personal
stories, aesthetics, and effective design.
37
PRINCIPAL FINDINGS
Participant Observation
CONTEMPORARY COMMUNITY
Participant observation with 25 quilters was conducted to
understand why quilters love quilted products. Joining the London
Modern Quilt Guild allowed for five consecutive monthly
observations at The Star Tavern in Belgravia. Key elements that
create meaning for quilters are explored to discover potential areas
to focus on when designing for non-quilters. This quilt community
supports each other, sharing their love of making quilted products,
fabric collecting, techniques and the personal stories these objects
hold.
At meetings members present recent quilt project spanning
accessories (Figure 20) and bed quilts (figure 21).Together they
provide critical feedback, discuss projects, have lunch and
socialise. They plan projects such as festivals, competitions, blog
postings, and book reviews. Collaborative quilts connect makers
across countries in one finished piece, that is either kept by one
group member or made for charity. They keep in contact outside of
the group through social media such as blogs and Instagram,
documenting about their process and final piece.
Figure 20: Quilted purse on quilted blanket, made from

fabric scraps. Functional fashion accessory made by
member Shevvy, reflecting her personal style.
MODERN & TRADITIONAL

The quilts presented at these meetings are based on the
Modern Quilt Movement that began in 2008. All show a distinct
aesthetic that utilises fashion forward fabrics that have bold bright
colours and patterns in combination with crisp whites. Some are
random improvisational patterns that are designed as they are
Figure 21: Each member shares recent projects and

explains the story, meaning, function and challenges in
making. Members encourage, curate, guide and advise.
38
PRINCIPAL FINDINGS
made, and others are innovative takes on traditional pieces. The
language these quilters speak contrasts traditional quilters, with a
high focus on fabric designers, bloggers and online trends.
There are few modern quilters who also understand
traditional patterns and techniques. This radical spontaneous
aesthetic is very intimidating to the neural colour palate of
disciplined traditional quilters, who are primarily driven by precision
and technique.
QUILTING PROCESS
When designing quilted products, the maker defines the
user and expected function. They design the pattern and chose
colours and fabrics accordingly. Younger makers typically make
accessories, such as small bags and cases, while older and
experienced members made bed quilts. Each quilted product
made has a different purpose and meaning. The creator makes
something they desire or discuss and envision what they think the
user desires.
Figure 22: Hand stitched quilt made in memory of quilt

members father who passed. Lyrics from his favourite
song and fabric from his old clothes, carrying meaning.
SELLING PROCESS
Quilters struggle to sell quilts for their true economic value.
Quilting materials are expensive and work is laborious. This is not
always understood by customers so, most quilters make for
pleasure and to express themselves. Conversely, customers who
purchase cheaper mass produced quilted products do so for
aesthetic and functional purposes, lacking contribution to the
making process.
EMOTIONAL VALUE
Every month new young members join, and discover the
guild online. They they join for inspiration, encouragement and tips
from people who understand and appreciate their work. Long term
members often discuss what they do with their quilts when they are
39
PRINCIPAL FINDINGS
completed. Many are gifts for non-quilters and members share
stories of how quilts are used.
Some express disappointment of gifting quilts that seem
unappreciated. For example, one member shared she saw her quilt
being used for a dogs bed. Conversely, there are members who
constantly get asked for handmade quilts because people love the
patterns, colours and fabrics, but do not know where they could go
to get one custom made.
Quilts represent life events and loved ones. Many quilt in
times of stress, grief (figure 22), for relaxation or for fun. Expressing
themselves in fabrics, colours and textures are key motivators for
quilters.
Observation revealed that the experience of creating
quilted products has the power to generate emotion emotion
through a quilt which serves as a vehicle for communicating the
makers moment in time through a functional object. Non-quilters
and customers are not creators in this process.
SUMMARY
Overall, participating with this guild confirmed the meaning
quilts have as objects that express personality, carry stories, and
provide people with comfort and fun. Clear emotional connections
between quilters and these objects were evident.
typically look toward future designs and colours to create newness

through self expression.
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They join this group to feel appreciated and learn in a

community that has a similar mindset. Focusing on constantly
creating something different and motivated by fashion trends their
aesthetic and motivations contrast the traditional quilters. They
40
PRINCIPAL FINDINGS
Interviews
22 exploratory and in-depth expert interviews
spanning design, brand, innovation and strategy. Also,
quilt designers, authors, authors, home experts, shop
owners, manufacturers and distributors, helped me
understand the US quilting industry holistically. Most
where in person, with few via Skype.
Denyse Schmidt, an internationally recognised
pioneer of modern quilting, author, has experience
selling handmade quilts, licensing designs and creating
traditional quilts in a modern world. Similarly, Thomas
Knauer who has studied, taught and lived in the US and
UK, entered multiple quilt festivals and is a key author
and quilt designer producing meaningful modern quilts.
Annette Morgan is a UK professional quilt artist, author,
lecturer and instructor, who is successful selling quilts.
Annie Barker owns The Village Haberdashery in London,
where she teaches quilting retail aspect of quilting, also
Judith Dahmen who sells handmade quilts online and at
markets. This dynamic group will provide multiple
perspectives and feedback about a holistic design
strategy to connect emotionally with customers.
Figure 24: Traditional quilt (Ruggles,

1796).
Figure 23: Traditional quilt pattern
(Connecticut Quilt Search, 1996).
Interviews were conducted with experts in brand,

design and innovation strategy. Jonathan Chapman,
author of Emotionally Durable Design, is a lecturer and
Figure 25: Bulls-Eye 1, bold

geometric patches, solid colors,
circular quilting (Wootton, 2013).
Figure 26: Indie Vibrations

at 2013 International Quilt
Festival (Friend, 2013).
41
PRINCIPAL FINDINGS
about designing emotional products. Nathan Flowers, brand
strategist at SapientNitro, will be interviewed. David Godberg
from Elmwood, can provide insight on design effectiveness
and innovation. These were key experts to my research, out
of my 22 interviewees (See Appendix)
QUILTERS CONNECTION
!
Figure 27: Interview at SapientNitro
writer
They are fine for what they are. People need to keep
warm at night. You want a blanket on your bed, of course its
just utilitarian its going to wear out and is probably not going
to have a lot of meaning to anyone. When it gets too dirty you
will throw it out and get a new one. The thing that I loved,
because I was a quilt maker before I owned the store, was its
making something that really appeals to me. Its the colours I
want, the pattern I want, so a lot of work goes into it definitely,
but what I like is this feeling of it, that its luxurious and its
handmade, and its beautiful, but I actually use Its the idea
that your sleeping under something that is totally unique, that
you made, that you think is gorgeous. Cathy Izzo, Owner of
City Quilter NYC
TRADITIONAL & MODERN

Figure 28: Online shop logo and business card,
modern quilt (Dahmen, 2010).
Evelyne Wheeler (15 year quilter) belongs to a

traditional and modern guild. She explained quilters typically
chose one style, but she sees benefits in each. Traditional
42
PRINCIPAL FINDINGS
quilters use historical patterns, are older and work to improve
skills and techniques (figure 23-24). Conversely, modern
quilters typically have less experience, are younger, create
for fun and make functional innovative products, less
focused on skill (figure 25-26). Traditional quilters typically
view guilds as prestigious and focus on preserving quilts and
stories. Modern quilters love technology, getting work
exposed, following designer fabrics and experimentation.
CUSTOMERS PERCEPTION
Judi Kirk (13 year quilter), explained outsiders lack
understanding of quilt value. She explains that if someone
wants to buy a quilt, many do not know someone who could
make it for them. Similarly, they typically lack understanding
of the monetary value and assumed price is higher than
anticipated.
PURCHASING BEHAVIOUR
Trying to get the late 30 year old and the late 20 year olds I
think thats the way to go definitely. We are doing one, one
bright quilt Robin Haring
[The packaging is] often what sells it. Its the first thing that
people see. So the graphics and messaging gets that
person to buy it Heather Bybee
Quilt designer, Judith Dahmen (figure 28), sells products at

fairs, ETSY online, and fabric stores, a space she thinks is
under utilised. She has reasonable prices and high quality
goods, but sales are low with smaller items selling most,
stifling her creativity and leaving her feeling undervalued.
BRAND
According to Nathan Flowers (figure 27), an
experienced design and brand strategist at SapientNitro, the
customer must understand and feel the story to justify cost.
He also believes that when looking at a larger user group, to
design multiple products, they must be separated. He
explained the millennials are content with owning similar
products as peers, while baby boomers are driven by
exclusive products.
MASS PRODUCTION
In the West its all about handmade, so our printing process
is silk screen so there is a guy running the silk screen, but its
not say block printed which we also do, which is a complete
hand product Now everything is mass produced, and no
one else does what we do. Kabir Siah
In home right now, I think price really drives the
product. Price, whether the customer right now is luxury or
mass market, it is kind of a price driven market. But the
fashion in home products is really like the fashion in apparel,
its driven by colour and pattern. Shannon Maher
43
PRINCIPAL FINDINGS
INNOVATION?
We have moved on from commodity world into
experience world. We now want the experience and the
story behind. David Godber
DESIGN ENHANCE EMOTION

If the user becomes a co creator in the object
themselves, then in a very obvious way it includes the user in
the final product in some way. The products are actually a
point of entry for a complicated story which brand plays a
part and society plays a part. Jonathan Chapman
In terms of design strategies, what are they, theyre stories.

Every single brand activation touchpoint forms a small part
of the holistic story. In a story there is always a beginning, a
middle and a never ending end. Never ending stories.
Godber
COMMERCIAL TECHNIQUES
kabir, robin haring, shanon, alicia, katy chapman,
I think that people have an initial emotional reaction to
the aesthetic of whatever product. Your dressing up your bed
which is kind of big, and its also changeable. Opposed other
things in your home, it's an easy change, but it is an
investment you have to live with. Alicia Rietman
!
EMOTIONAL PRODUCTS (QUILTS)
If you look at the more mass retail aspect of quilts
where they are mass produced or manufactured in larger
volume, I still see sort of that grandma's traditional quilt look
out there and I think the opportunity is to look where this look
and technology and anything else that goes into how you
make a quilt, where can that take us, whats the landscape for
new design ideas, how can we take this to the consumer in a
way thats brining all of that wonderful functionality but
changes it up a little Katy Chapman
The brand is more important than the designer,
particularly when we talk about textiles. The brand carries it.
If your talking about personalisation so I could go online
then yes I think there could be a market for it because then I
can get exactly what I want and I can show it off Johnson
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44
PRINCIPAL FINDINGS
DELPHI REVIEWED BY KEY EXPERTS
45
PRINCIPAL FINDINGS
SUMMARY
Ultimately leading to key thoughts that were confirmed
from experts. That a design strategy that provides personal
experiences through inclusion of the customer, can generate
new meaning to quilted products for customers through an
innovative process that is holistic. Communicating the brand
and user story through each touchpoint and experience with
the company and product that reflects their needs and
desires.
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46
PRINCIPAL FINDINGS
Focus Group
A focused group was conducted to generate
understanding of non-quilting customers, their favourite
objects, perception of quilted products, and desires in future
products through an intimate group discussion.
FAVOURITE OBJECTS
Beginning by sharing favourite objects, potential US
customers described their most cherished object. Each
object had a story that evoked personal memories of people
or symbolised meaningful life events. Without the story, the
personal significance of the object was lost.
When asked about buying quilted products in store,

they expressed lack of fun quilts that were beyond the bland
florals and neutral colours when they went shopping for bed
pieces. Also, they felt as though these quilted products in the
retail store environment were low quality and impersonal.
They also did not associate quilts with any other functional
form beyond bed pieces.
Group members brought quilted products that were
made for them or by someone they loved (figure 29).
Members were intrigued by these pieces that were made by
Objects triggered emotional reactions for each

participant. The emotion ranged from happiness, excitement,
pride and grief. Articulating emotional state was a challenge,
but participants agreed that the emotional feeling was
positive. Shopping experiences, the making process, and the
ability to have a tangible connection to a memory made these
objects posses high meaning and emotional value.
PERCEPTION
When asked about quilted products, participants
described elderly people creating old fashioned bed quilts
with dated colours.
Figure 29: Focus group participants were most attracted to

pieces that were a desired weight to sleep with, had colours
and patterns that reflected their style and exposed stitching.
47
PRINCIPAL FINDINGS
friends and family, however the designs and colour
combinations were documented low on aesthetic preference.
These pieces were not designed or stitched to a high
standard and colour theory and design principals were
lacking in the final product design. The story and the maker
made these objects special, to the owner and the
participants, demonstrated through positive written and
verbal feedback.
DESIRES
Participants discussed varied function and aesthetic
desires, after being inspired by the range of quilted products.
Home owners wanted cohesion with the current environment,
and new improved aesthetic, that is quick and easy for a bold
transformation and update. They also wanted textures that
were pleasant, enjoyed varying thicknesses and weights
when sleeping, and usually used thin quilts in warmer
seasons, and a duvets quilt combination in cooler seasons.
Younger audiences were more concerned with having
accessories that were bespoke, unique, simple and reflected
their lifestyle and functional needs. They were willing to pay
for accessories that carried their technology devices such as
cell phones and laptops, or that they could wear. The desire
for lightweight, strong of quilted products and bags was
evident.
Both groups were excited when modern quilted

products were presented to them. They were interested in
adding a personal touch such as stitched wording, labels, or
shifts in colour combinations or patterns. They did not feel as
though quilted products available to them reflected their
personal style both in home and for fashion accessories. Also
they said the products did not feel special in store. Most
preferred to not buy online because they could not touch the
product. The exception was when they wanted something
cheap that they could use to just keep warm. Participants
explained that they did not have a voice during the design,
making or purchasing process of quilted products.
SUMMARY
Overall, these potential customers did not see current quilted
products in stores beyond function and aesthetic. Overall
quilted products were deemed impersonal and lacked strong
emotional value, unless the making story was told. In store,
there was little personal connection made or emotional
reaction triggered. They desired a range of products in
aesthetic, function and meaning.
48
PRINCIPAL FINDINGS
Store Observation
In order to understand environments where quilted
products are sold, I observed quilt, gift and home retail
stores, including both hand made and mass produced
quilted products.
QUILTING RETAIL
These stores target customers making quilts, not
customers who buy finished quilted pieces. Despite this,
examples of projects were in the store for inspiration.
Customers could touch quilted pieces, or take classes to
learn how to make them in store. This environment was
intimidating to non- quilters, but provided them with a visual
and tactile experience and an understanding of making.
Customers loved the fabrics and colours. Many found
fabrics they loved, but did not have the time or desire to
completely make something. Project kits, with pre cut fabrics
were very popular, that guided the maker through the
process. Store design was organised by aesthetic, colours
and patterns versus designers (figure 30). However, there
was limited differentiation between shops other than size and
product portfolio.
!
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Figure 30: The City Quilter, NYC, have a

gallery space to educate customers
about art quilts, after an interview with
the owner Cathy Izzo, they do not sell
well because they are expensive.
49
PRINCIPAL FINDINGS
GIFT RETAIL
Lauren Snyder (figure 31), interior designer provides
her customers with a curated lifestyle. Targeting customers
looking for bespoke pieces that were unique and could
become lifelong objects. Customers were buying quilts for
themselves and gifts. They were used as wall pieces (figure
32), baby gifts, wedding gifts, and bedding. Smaller pouches
and accessories had the potential to sell well in this
environment.
communicated with rich photography and description of the

makers story.
Figure 31: Interview with
The Primary Essentials
owner provided insight on
customer desire for
bespoke handmade pieces
and explains her use of
design at a strategic level to
communicate brand story.
They come for her design style and pieces that are
ethically made, high quality and original. The store
environment was clean, crisp and elegant. Her store seemed
most successful because it had minimal products and
beautiful designed store environment with natural materials
mixed with pops of colour. This reflected her brand story of a
timeless, yet modern aesthetic and lifestyle. The store brand
was at times well designed and cohesive across touch
points. The product portfolio was for both home and
fashion, capturing with low to high prices to capture a large
user group.
However, the designer, maker and customer story
was lost in store. Details in products, such as quilt labels
(figure 33), signage and packaging did reflect store brand,
yet products lacked visual and packaging that
communicated each products distinct individual story.
Although details were lost in store, online it was clearly
Figure 32: The Primary Essentials,

Brooklyn, NY, selling handmade
Hopewell quilts, small company in
CA with no retail store of its own.
Figure 33: Individual numbered

tags identifying each quilt, bold
bright modern colours, owner
explains they sell well
50
PRINCIPAL FINDINGS
HOME RETAIL
Low end to high end retail stores sold primarily mass
produced goods to meet price expectations. Target
customers were those looking for cheaper products that
fulfilled functional and aesthetic desires, however that is
where the satisfaction ended.
These environments, particularly at the lower end
stores, neglected to exploit the personal elements a quilt can
possess such as a tactile experience design and personal
connection to the customer. Products lacked innovation in
design and systems and did not feel bespoke. The customer
was not involved in the design process or experience that
could generate emotional connection to products.
rather than function. Product portfolios were overall very slim

and only varied in price and aesthetic.
SUMMARY
Design in retail spaces gradually became less experiential
and customer based as the retail store environment shifted to
one of making quilts to buying quilted products. Experience
design, personal story and product story was weak in
packaging and lacked cohesion across touch points.
In store designs were minimal and did not use design

incorporate technology through in store communication. The
packaging and in store room displays were the only touch
points that communicated product story. Photography was
the primary design element used to communicate brand story
and a lifestyle on packaging and signage (figure 34). Service
design seemed neglected with minimal employees to help,
long lines, and minimal customer experiences.
High end stores sold home goods and gift pieces with
stronger interior design that told the story of use through
show room spaces. Also, quilts were organised by brand
Figure 34: ABC Carpet and Home NYC, high

end home goods, plastic packaging with little
brand and product communication, packaging
design lacks quality for high quality goods.
51
PRINCIPAL FINDINGS
Creative Workshops
These workshops were segmented to understand customers
desires and perception of products. Also, what they love
about favourite objects, quilted products, and what they
desire.
YOUNG AMERICAN DESIGNERS

6 American product designers, age 21 first took a
questionnaire about their favourite objects, followed by
discussion quilted products and experiences. Users ranked
emotional reactions about images of quilted products,
articulating personal connection and suggested price (figure
35).
Figure 35: Provided to assist participants when categorising
They disliked quilted products because of aesthetic

preference, price and functional design and explained they
are for an older consumer. Contradictory, 4 participants were
wearing clothing or accessories that included a detail of
quilting and patchwork. All lacked understanding of historical
significance and preferred functional personal accessories
over bedding that had simple design with pops of colour.
As students, they were not willing to buy a high end
luxury piece. They wanted accessory products that
functioned well and expressed their personal taste and style,
which they did not see as an existing available option (figure
36).
Figure 36: Dream products, backpack, cell phone case

for cushion, couch quilt with a pocket to keep feet warm.
52
PRINCIPAL FINDINGS
They were hesitant when asked to
design, but were capable. Designs focused
on fun innovative functions and met
individual functional and aesthetic needs.
Sketches revealed that playful objects were
desired, with bright colours and modern
designs (figure 37).
NON-DESIGNER CUSTOMERS
Customers from age 20-55 had varied
behaviour and desires. Participants were
presented with live quilted products they
Figure 37: Customisation excited them, able to create something innovative with
could hold. They immediately categorised
personal meaning from accessories to fashion and home products.
cheap-mass produced objects versus
handmade. Participants gravitated towards
the tactile elements of the handmade quilts. Quality was
MA GLOBAL DESIGNERS
understood, as well as their ability to soften with age. All
The same workshop was conducted with 7 MA
touch and felt fabrics and thickness, and responded to how it
students over age 25. This group was willing to spend more
would feel to hold, sleep with, or wear and thinner quilted
based on aesthetics alone. Most valuable items had a
products preferred. Ones that were used and worn in were
personal story or memory of important moments or people.
coveted more, where the older mass-produced quilts were
When shopping, they do so both online and offline.
clearly deteriorating and falling apart. This tactile experience
They disliked traditional quilts and were driven by functional
evoked senses such as touch and smell.
modern, bold patterns and colours. Most preferred large
Age and lifestyle clearly defined purchase behaviour.
exposed stitching in a patterns. They said when shopping
30- 50 year olds appreciated bed quilts that were light
they look for pieces that are different and inspire them.
neutrals with hints of fun patterns and bold colours. They
53
PRINCIPAL FINDINGS
discussed modifications that would be needed to fit in their
home. The younger participants were driven by pillows and
handbags, but also recommended changes, such as bag
strap length and colour combinations.
Provided with inspirational quilt magazines, home and
fashion catalogs, they noted favourite and least favourite
options. When photography showed home environments,
personal connection and desire was increased.
They were excited by aesthetics, but disappointed by
lack of tactile experience. They were provided with visual
stimulation, patterned fabrics, scissors glue and drawing
materials. The visual references helped guide them through
the design process, allowing them to feel confident making
personal choice (figure 38). Each was proud of their design
and were willing to buy something customisable.
Figure 38: Creating dream quilted products with magazine inspiration
54
PRINCIPAL FINDINGS
Case Studies
These case studies show how brands create personal
connection and emotional value for a range of customers and
products, utilising different techniques. Key successes and
failures of each are explored to inspire the final strategic
direction.
DESIGN WITHIN REACH: BRAND STORY

This store sells home furnishings and lifestyle brand of
high end timeless pieces, many handmade, from famous
global designers such as Charles and Ray Eames and Le
Corbusier (figure39). An interview Account Executive
Brandon Hodges (figure 40), gave insider insight into this
organisation. He explained the
company was failing when they
were only selling the classic pieces that took time to order
and make, but were highly customisable and coveted.
They improved when they widened their product
portfolio to reach the aspirational customer with lower price
point items. Also, technology advancements provided a
streamlined ordering process and an app for interior design
with 3D products from the store. This provided customers
with the opportunity to co-create either in store or online.
Hodges explained, The customers connection to the
store from start to finish, each [piece] has a unique story and
history that is difficult to communicate in store, a
communication that design could help improve." However, it
is improving with in store displays, cohesive online and in
store experiences, and digital in store communication of the
making process. This provides knowledge of the time that
goes into each high quality
handmade piece, setting them
apart from other items in the home
furnishings market.
BUILD-A-BEAR WORKSHOP
Figiure 39: Design within Reach

has an open space with timeless
luxurious interior aesthetic.
Figure 40: Interview with

Brandon Hodges, Brooklyn
NY, supported brand story
can drive product sales.
The retail store at Build a

Bear includes the user in a
memorable experience with a
customisable a product. The
customers is guiding through the
Figure 41: Choosing how

much to suff the bear after
making a wish to make him
come alive.
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PRINCIPAL FINDINGS
journey of bringing a teddy bear to life with customised
stuffing (figure 41), dressing and naming the bear on a birth
certificate (Cuneo, 2004).
To maintain loyal customers, there is a redesigned high
tech store interior, increasing sales by 30% (Wilson, 2012).
The store creates a memorable experiences represented in a
tangible product by evoking senses through options for
scented inserts, personalised digital sound chips, interactive
digital signage and digital love me stations that allow the
bears emotion to be customised (Wilson, 2012). This
provides the user with a memorable, innovative experience
symbolised in the final product taken home.
This generates cohesive brand story that is consistent
throughout the entire customer journey, enhancing emotional
value and generating ongoing attraction for customers.
OTTER-BOX
Otter Box had success with online co-creation,

providing the customer with customisable colour options.
(figure 42). This gives the customer the opportunity to cocreate and contribute to the creation of their desired cell
phone case. Heather Bybee, previous Otter Box designer,
explained in an interview that the colour combinations
created by users online were more popular than the ones that
they pre designed for customers. This online technology
gives the customer an easy way to design something they
want, but is curated with select colour combinations for the
customer to chose.
CATH KIDSON
PRODUCT PORTFOLIO
In store observation of a holistic brand that has strong
communication of a cohesive collection of a variety of
products that fit both home and personal use was clear in the
in store experience.
There was something for a wide range of users,
spanning products ready to buy and designed for you, to
customisable goods that customers could design with the
company, through to fabric sales that allow the customer to
completely create on their own with fabrics that still resonate
with the brand through colour, pattern and finishes. Design in
the store from displays through interior design communicated
Figure 42: Case customisation

56
PRINCIPAL FINDINGS
the fun, playful sophisticated girly brand, while having a large
product portfolio that fit the needs of multiple customers from
home to personal fashion accessories.
FOLK FIBERS
Folk Fibers, owned by Maura Grace Ambrose, hand
dyes (figure 43) organic fabric for hand sewn quilts (2014).
With has strong brand communicated across web (figure 45),
logo, packaging (figure 44), and product design, touchpoint
communication is designed cohesively. Without a retail store,
customers lacks a tangible connection to products.
However, she communicates the makers story through
photography and visual communication to customers. Like a
gift, the quilt arrives at home in an engraved wooded box,
Figure 43: Natural dyes for fabric

(Folk Fibers, 2014).
creating a further brand connection at home. The material

and quality of this storage space, stretches beyond the
typical mass produced quilts plastic packaging. With logo
and a personal message this piece feels special to the
customer, communicated even when the product is taken
home.
HAPTIC LAB
Haptic Lab sells hand stitched quilts of maps and
constellations, telling their making story through video,
images, website and products. Customisable map quilts are
designed for commission. The customer can choose to get a
labels stitched on the map with significant places. This
Figure 44: Packaging designed logo,

and message (Folk Fibers, 2014).
Figure 45: Online store, sells quilts for $2,500$7,500 but several are sold out. (Folk Fibers, 2014).
57
PRINCIPAL FINDINGS
provides the customer with a design detail that is personal to
them. Quilts are sold as heirloom pieces, and must be
ordered via email or phone because there is not a platform
that streamlines this process or visualises the final design
prior purchase.
Haptic Lab lacks an in store experience as well as
packaging that reflects the brand image. These design
elements and the sensorial experience of feeling the product
prior to purchase is lost. Despite this, they have been very
successful, with custom quilts cost about $3,600 and a wait
list spanning several months (figure 46) (Haptic Lab, 2014).
GEES BEND
Possibly the best
known quilts in America are
Gees Bend quilts from
Alabama, coming from a
long history of quilters they
hang in museums and sell
for $1,000 to $20,000 (figure
47). They are lacking brand
communication in the retail
store, signage and online
(Bass, 2012). Visually
auditing quilted products,
they maintain a cohesive
product design style,
despite having several
makers.
Figure 47: Quilts from Gees Bend,

Alabama, shop lacks interior design
and store display (Bass, 2012).
SUMMARY
Figure 46: Custom designed wedding quilt, map of with initials and
wedding date, silk appliqu, Modern twist on a traditional quilt
pattern documenting initials and wedding date (Haptic Lab, 2014).
Overall, these case studies have shown key ways that

companies have used brand story, a wide product portfolio,
personal design details, service and experience design,
packaging design and product design to create pieces that
resonate with the user on some emotional level. However,
each was lacking strengths that others had.
58
ANALYSIS & DISCUSSION

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59
Integration & Analysis

After researching, it seems clear that there is an
opportunity to help enhance emotional value to quilted
products for customers, through the use of strategic designled innovation. The goal is to attract customers outside of the
quilting community, while maintaining the current audience.
To capture these customers emotionally, a design strategy
that connects designers, makers and customers should be
holistic and cohesive, to create an innovative experience that
generates personal meaning to quilted products through
design.
QUILTERS EMOTIONAL CONNECTION
that really appeals to me. Its the colours I want, the pattern I
want, so a lot of work goes into it definitely, but what I like is
this feeling of it, that its luxurious and its handmade, and its
beautiful, but I actually use Its the idea that your sleeping
under something that is totally unique, that you made, that
you think is gorgeous. She explained several factors that
contributed to her love of quilts that embodied the
functionality, aesthetics, and makers story that was so valued
in America in the past.
The aesthetic choices Kathy made to create the
object made the quilt feel completely like her own and
appealed to her aesthetically, connecting her sensorially to
the visual elements of the object.
!
American women were considered quilting experts by
their community (Mason, 2005) and their skills were needed,
contributing utility and home decor to the family (Gunn,
2011). These products were once appreciated outside of the
quilting community (Hinson, 1970). They became quality
handmade family heirlooms, passing down stories for
generations through a meaningful object (Higgs and
Raddosh, 2012). Today, quilters still have that same
appreciation and value for quilted products, as primary
research further proved.
Kathy also explained the function of the quilt

resonated with her needs, as an object of comfort that she
can sleep with that has intrinsic value and feels luxurious.
This is because she explains she knew that it was handmade,
of high quality and it functioned as she had expected,
activating the sense of touch in a positive manner.
Cathy Izzo , owns The City Quilter in NYC and she

explained, The thing that I loved, because I was a quilt
maker before I owned the store, was its making something
!
!
Finally, she explains that because she made it, she

knew the time it took to communicate her personal story in
fabrics and colours. This laborious process is one that many
non-quilters do not relate to and do not always appreciate.
60

COMMUNITY
Similarly, these same elements were expressed during
participant observation at the London Modern Quilt Guild,
where many younger quilters are members. They confirmed
the lack of appreciation and acceptance they undergo, but in
this community they were supported by fellow quilters who
could relate to their passion for this art form.
The community all had an appreciation for the
functionality, aesthetics, and story that each makers quilt
represented Every monthly meeting each member was able
to share these elements of their progressing creation, sharing
the process and meaning with guild members. This gave
them the sense of appreciation that they were lacking from
non-quilters.
EMOTIONAL DESIGN
However, quilting was a womens art and with a domestic
origin and today it is undervalued in the marketplace and
still lacks respect and appreciation (Fitzpatrick, 2013). The
need and benefits of quilts differs in todays culture than it did
for past generations.
PERSONAL STORY
The focus group and workshops showed that beyond
quilts, favourite objects in general captured users emotionally,
despite the form they took on. When participants explained

their favourite objects, beyond describing aesthetics and
function, each participant defended their favourite objects
with meaningful stories, justifying why the object was
cherished by them. These stories evoked personal
memories of people and symbolised meaningful life events.
Without the story, the personal significance of the object
was lost. Because in these groups the objects were the
vehicle for communicating a personal story, using design to
incorporate non-quilters personal story seems possible.
In an interview with Denyse Schmidt, successful
modern quilt designer and author, she explained I think a
quilt can be a gateway activity, because its functional, its
useful, its beautiful, and it's an everyday item and I think
that's what makes quilts so powerful in general. Her expert
opinion supports how the functionality in a quilted product
can provide customers with aesthetics, function and story. It
is how this object is framed today that determines if it can
resonate with a modern user and meet their expectations and
needs, while providing them with unexpected meaning
through innovation, as Vergantis theory demonstrates.
Build-A-Bear workshop is a case study that supports
how design can be used to create new meaning through an
everyday object for consumers, through an object that could
be seen as just a teddy bear. Design was used in store to
generate an innovative experience and service that
61

generates emotional value in an everyday object for a
modern audience.
By providing consumers with the space to co-create
and imbed their personal story in an object that is mass
produced, the end product transforms into a symbol
representing a positive memory. With guided customisation
and a designed creation process, the user gets exactly what
he or she desires. The consumer is invited into the making
process and the brand story through an in store experience.
This guided in store experience and meaningful story is
intrinsic to the user, and reflected in an end product that one
can take home with them.
QUILT PRODUCTION & SALES
raw fabric
materials
sell
pattern
textile &
fabric
designers
quilt or
pattern
designer
customer
finds quilter
textile
design and
fabric
design
quilt label
sell
books
sell
lessons
quilt pattern
design
handmade
(with or
without
machine)
Norman states that personal meaning, can not be

generated by the designer (2004), however, through the
strategic use of design, designers can provide the consumer
with space incorporate personal meaning into a designed
experience.
With Build a Bear designers are not predicting what
the consumers personal meaning is and implement it at an is
what makes this relevant in the marketplace and increases
the value of this mere teddy bear. Its not about the bear, it is
about everything else the bear represents. Choosing the
stuffing, giving it a heart, pulling it stitched shut, dressing and
naming it, all with the support of an employee guiding you
through the innovative technological platforms and
sensorial experiences, that is what empowers and attracts
sells
fabrics
backing,
batting and
backing
mass
produced
quilt top
construction
sell
binding
quilting
design
KEY
keep,
give away,
donate or
sell
goods
sold
selling
point
main people
sell
labels
professional
quilter
quilt
festival
auction
steps in quilt
production
process
sell
quilting
professional
quilt finishing
sell quilted
product
craft
fairs
retail
store
fabric
store
ETSY
online
store
Figure 46: current quilt making and selling system, main

people seem to lack connection
62

loyal customers. (GLOBE QUOTE)
With a slow design and grassroots movement, as well
as industrialisation, customers are craving individuality,
bespoke products, and willing to pay more for handmade
(Fitzpatrick, 2013). This market observation was also
supported by experts in quilt manufacturing, even for a mass
market audience.
Owner of an India quilt manufacturing company
explained, In the West its all about handmade, so our
printing process is silk screen and a person runs the silk
screen, but its not block printed which we also do, which is a
complete hand product Now everything is mass
produced, and no one else does what we do. So even
though his company stands by handmade quality goods, it is
a challenge to find manufacturers that do this because it
takes more time and costs money. However, this shows that
there is space to provide customers with objects that are
designed in innovative that connect customers back to the
roots of making.
FUNCTION
Leading Bed Bath and Linen suppliers, including bed
quilts are Alok Industries, Welspun and Westpoint Home
(Mintel, 2013). They supply imported quilts to large US
retailers Macy's Inc, Bed Bath and Beyond Inc, and Target
Corporation. Home retail stores observation had quilted
products that varied particularly only in aesthetic and

functional design of the product. Design was lacking in the in
store experience and service design that could connect one
to products with technology platforms, one on one
customisation services, or any new relationship with
products. Because of the lack of differentiation, customers in
focus groups explained they always went for cheapest
products that looked decent. Since the recession in the US,
top of bed products are primarily purchased from cheaper
department stores when replacement is needed (Mintel,
2013). Therefore, people are only buying replacements when
they need something for warmth and function was the main
purpose of purchase.
Although in focus groups it was proven true in the that
aesthetics were the first thing to draw in participants to touch
the presented quilted products, but if they did not feel like
they would function properly for the user, they were no longer
interested. Each person gravitated to quilted products that fit
their individual style, expectations and desires.
F.I.T. NYC professor in home products development,
Shannon Maher explains that In home right now, I think price
really drives the product. Price, whether the customer right
now is luxury or mass market, it is kind of a price driven
market. This price driven market is reflected in the products
organisations are providing. Maher Because the market is
63

very price sensitive, as experts in the field have confirmed, it
is important that a range of price points is met.
Workshops with a range of consumer groups also
supported this. Younger age groups were particularly
concerned with cost versus value from the products they
were buying. Older groups were open to spending more if
they had value beyond function. Organisations and designers
need to ensure that no matter what market they are designing
for that the products they provide are priced appropriately
and take into consideration the desires and expectations of
the customer.
AESTHETICS
Katy Chapman, VP of Strategic Marketing
Development at CHF industries, explained during an
interview If you look at the more mass retail aspect of quilts
where they are mass produced or manufactured in larger
volume, I still see sort of that grandma's traditional quilt look
out there. Younger workshop members agreed with her point
and mentioned that they do not think that there are quilted
products on the market that fit a modern aesthetic. They had
strong opinions about aesthetic elements and were looking
for objects that could last a long time, both in quality and
style.
With imported goods, quality handmade pieces are
rare. Imported cheap goods do not last (Gunn, 2011) and
with a new modern quilt movement attracting a younger

audience, here seems to be an opportunity to promote,
handmade quilted products rooted in American culture.
Trying to get the late 30 year old and the late 20 year
olds I think thats the way to go definitely. Robin Haring, quilt
designer at Designer Croscill Home Fashions in NYC
explained during an interview. She also spotted a need for a
younger aesthetic in the market, but explained that they are
very traditional right now.
When interviewing Alicia Rietman, a textile and
bedding designer for Hanover Direct, she said,
I think that people have an initial emotional reaction to the
aesthetic of whatever product. Your dressing up your bed
which is kind of big, and its also changeable. Opposed other
things in your home, it's an easy change, but it is an
investment you have to live with. Because of this factor it is
something that is easier to commit to when buying because
functionally it has a purpose in the home, but provides a
quick aesthetic change for a living environment.
In store displays primarily drive purchase, however
decor and quality items are likely to drive younger consumers
(Mintel, 2013). However, to capture a younger audience to
these products, aesthetics is a key factor in getting their
attention, and they expressed that there are not products that
fit their individual aesthetic preferences in a modern way.
64

According to Pieter Desmet, Kees Overbeeke and
Stefan Tax, designers create emotional value in products
using design and it is key that they understand what the user
feels is lacking in order to create the correct emotional fit
(Desmet, Overbeeke and Tax, 2001). Aesthetic elements are
one factor that young participants explained is not available.
!
!
SALES CHANNELS
However, as previous research showed, to keep a range of
customers happy, customer value and appropriate price
points must be achieved (Norman, 2004). This was very
similar to Flowers perspective explaining the customer must
understand and feel the story to justify cost.
In home retail stores, the interior design and customer
experience in needs an innovation strategy to look towards
the future on how to make sales by differentiating products
and experiences.
This as well as the sensorial experience of feeling the
product prior to purchase is not fully experienced without a
retail store. According to Marc Gobe, the nuance of an
image, the delight of an unfamiliar taste, the the memory of a
familiar sound, the gentle caress of a soft fabric, the
associations of an ancient smell-these are the cues which
form indelible imprints on our emotional memories. These
elements primarily are created in the retail store environment

and without them, an opportunity in emotionally connecting
the user to the brand is being lost.
In the workshop, the ageing softened fabrics and
smells of the quilted products drew the user into the product,
potentially connecting them to emotional memories, or
perhaps future memories.
Haptic Lab quilts can only be purchased online, so

there is a lack of in store experience as well as packaging
that reflects the brand image. Despite this, they have been
very successful, with custom quilts cost about $3,600 and a
wait list spanning several months (Haptic Lab, 2014).
Because it is such small company, not fulfilling the demand
could be a struggle. As Johatan Jelen, Head of Design
strategies at Parsons in NYC explained in an interview a
challenge with handmade goods.
"The big problem is there is a fallacy in the maker
movement. They do not have the capacity to compete with
the equivalent product that people can get industrially made.
But people don't care how its made unless you create a
context around it. People don't care about the product. With
this insight, as well as the outcome of the workshops that
peoples favourite objects took on obscure forms but the
meaning behind it was linked to the context of where the
piece came from. That context must be designed in a way
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that that attracts the customer but is achievable to scale with
demand to maintain positive service experiences.
HANDMADE QUILTED PRODUCTS PROCESSES
!!
QUILT MAKER > CUSTOMER > HOME!
!!
COMMISSIONER> QUILT MAKER > HOME!
MASS PRODUCED QUILTED PRODUCTS PROCESS
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ORGANISATION/BRAND > DESIGNER >
MERCHANDISER/ BUYER > ONLINE/ RETAILER >
CUSTOMER > HOME !
EMOTION
situation underpins the misunderstanding of quilts in the art

and design community and the marketplace(Mason, 2005). !
!
Flowers explained that when looking at a larger user
group the market must be separated into groups, and
multiple products should be designed. He explained the
millennials are content with owning similar products as
peers, while baby boomers are driven by exclusive
products.
This was confirmed through an interview with Ingrid
Johnson, a Professor at F.I.T in NYC home products
development, we start with fashion only because students at
19 and 20 understand that because they are really not a
consumer of the home yet. This further supports why
younger customers were more driven by accessories both
The designer must carefully decide design elements that

effect emotion such as material, marketing and practicality.
Additionally ease of use is an aspect that many neglect, that
generates intense emotional connection (Norman, 2004).
Donald Normans theory included key elements that generate
an emotional connection are the Visceral (aesthetics),
behavioural (function) and reflective (story) but, should be fun
(Norman, 2004).
The discrepancy today is that with Industrialisation, the
need and desire for quilted products, particularly as bed
coverings, can be replaced with a cheap blanket because
the value is in the the functionality, merely warmth. This
Figure 48: The product design must be successful

at the visceral, behavioural and reflective level to
create a complete experience (Norman, 2004).
66

making them in the LMQG and purchasing them in the
workshop studies.
Therefore when designing for them, understanding the
audience is essential in order to satisfy them. If there are
many users, then a selection of products should be
designed (Norman, 2004).
A product portfolio is needed that fulfils the needs of
each user group based on function to understand key
elements of the what personal stories and meanings connect
consumers to their personal objects, as well as what
aesthetics drive them, excite them, and fit into their lifestyle.
Modern aesthetics, objects that had a personal story, and
tactile experiences that allowed for guided personalisation,
provided confidence and excitement in a fun way.
Andrei Scridon, explained Hartmans value framework
and one aspect was the intrinsic value of an object or how it
connects to people, this component was later adapted by
Mattsson, where he referred to this as creating value through
emotion, or generating feelings for the user (Scridon, 2013). !
Judi Kirk explained that there is a lack of emotional
value and if someone wanted to make a custom quilt, he must
go to a fabric shop or find a quilter to discuss possible
designs. There is a gap in how customers can contribute to
the quilt making process, only allowing full customisation.!
!
In retail store spaces each space was gradually
reduced as the meaning of quilt went from making, to objects
that were unique and special to those of mere warmth. The
designed environment where quilted products were
purchased, did not reflect the users story. Brand was poorly
communicated in store, and design could be used in these
areas to create an experience and environment that is
inspiring and personal, connecting the customer to the
experience of making something that reflects themselves.
But, as Nathan Flowers explained, With design strategy
[you] tell the story behind that product. Emotion is story,
because a story is an element that's not about a product, its
not functional. Its not this blanket will keep you warm, its
everything else. This supports the fact that there is an
opportunity to create a stronger connection through
designing an innovative way to emotionally connect the
customer by using design strategically to tell that holistic
story and keep this art alive and relevant.
The key elements of the product design must work with the
customer to ultimately gain the enhanced benefit and value of
quilted products. It must be obvious and experienced, or the
customer will not be emotionally connected.!
!
!
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OVERVIEW:
QUILTERS EMOTIONAL CONNECTION: meaningful
through personal process of making and creating
symbols of memories through aesthetic expression, can
translate this meaning to customers through cocreation.
TRADITIONAL VS MODERN QUILTING: New Modern
Quilt Movement is attracting younger quilt maker and
this bold aesthetic and playful style is lacking in mass
market quilted products.
CONSUMERS: younger appreciate unique aesthetic that
reflects personal style, typically in fashion and personal
accessories. Older consumer pays for bespoke gifts
and home pieces.
ENHANCING EMOTION THROUGH DESIGN:
connecting the consumer with designed experiences;
brand stories that reflect personal meaning tangibly
through aesthetics and function. aesthetics, story and
usefulness drive positive emotional experiences and
increase value when personal meaning and memories
for the user are generated
QUILT MAKING ORDERING AND PURCHASE PROCESS:
inclusion of customer in design process and product
story with curation and guidance.
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Discussion
How can strategic design help enhance
the emotional value of quilted products
for customers?
There is an opportunity for organisations to use design
to communicate the intrinsic meaning of quilts that the maker
has through brand and design. These factors are very similar
to the desires that customers had in products, however with
quilted products created today, customers have are provided
with few opportunities to experience the same emotional
connection as quilters do.Target customers have the same
emotional connection to their most prised possession as
quilters do to products they create. Because customers do
not make the products themselves. Unless they purchase
high end completely customised quilts, like those of Denyse
Schmidt or Haptic Lab. There is no way for them to easily
choose functional or aesthetic elements they desire.
This lack of choice, as well as lack of connection to the
maker, limits the chances the customer has with purchasing
an object that has symbolic meaning for them. They are not a
part of the making process and the benefit of purchasing
quilted products is only based only functional and aesthetic
elements pre designed for them. Focus groups and
workshops proved that target customers consider their most

prised possession objects that highlight the meaningful
elements that are lacking in pre designed, low quality, mass
produced quilted products. After understanding these
problems, there are several ways design, brand and
innovation can strategically be used to address these
challenges.
CO-CREATION
Because the making of a product creates a strong
connection between the user and maker (Mason, 2005), a
simplified co-creation strategy could fill this gap and allow the
customer to contribute to the design process and generate
emotion. With such a tangible, sensory object, the retail
environment could have significant success to create an
emotional experience.
Jonathan Chapman supported this as an element that
could be used to create a personal connection and a product
that has emotional longevity for the user. In and interview he
stated If the user becomes a co creator in the object
themselves, then in a very obvious way it includes the user in
the final product in some way. Actually assembling and
making the object is where the real narrative gets imbedded.
Being a part of the making process and having choice in the
final design can generate a sense of ownership of the final
creation. Research supported his insight showing that the
69

emotional connection is generated by the making process
(Carlton, 2014). This is a key factor as to why quilters love
quilted products.
Quilters have been emotionally connected to quilts
throughout history because of social and creative aspects of
the making process, as well as the person, event or cause
the product represents (Gunn, 2011). These quilted products
took on the role of symbols of the makers moment in time,
and the story was known to the person that made and
received them.If customers are provided with this same
choice and input, then the object has the potential to have
intrinsic representation for them. The design and making
process consists of several elements that connect to the
maker emotionally to the final object produced.
Haptic Lab provides customers with this option via
custom order where they can get quilts with maps stitched
into them and contribute personal messages, however there
is not a simplified easy experience to guide the user through
this process.
Due to recession combined with fast paced lifestyle, all
ages have a growing desire to connect with the tangible
(Frog, 2014). People are rediscovering craft and the
satisfaction and accomplishment making delivers (Fitzpatrick,
2013). However, workshops and focus groups, as well as
visits to quilting stores showed that many are overwhelmed
and intimidated by creating quilted products on their own,
and a way to easily design and get a product they want and
can visualise before purchasing would be desired.
For market success in bedding, companies need to
explore added benefits to encourage increased purchase
prices, as well as appeal to emotions (Mintel, 2013). Cocreation could facilitate documentation of customer stories
and events, to transform products from scraps of fabric, into
heirlooms or objects hold meaning for customers and
generate innovative benefits for consumers.
BRAND
!
Brand creates and guides emotion and can
encourage or discourage product purchase if the message
and design is not cohesive (Norman, 2004). If the product is
well designed, and the brand does not clearly communicate
core values to customers, then the story is lost. Brands must
be authentic and transparent in order to ensure that the
customer understands the meaning products have. This was
also confirmed by Prof. Ingrid Johnson who explains The
brand is more important than the designer, particularly when
we talk about textiles. The brand carries it. In order for an
organisation to be successful, they must communicate the
brand as well as they can through the use of design in key
sales channels. Online and offline channels provide
information about the brand, product, and connects the user
in multiple ways, in order to get the message out so different
70

groups of customers can become loyal to the brand and trust
it.
The personality of a product must also be cohesive
with the company and brand (Norman, 2004). For quilted
products the brand story that the customer understands must
resonate with the product and be cohesive. This is also
agreed by Jonathan chapman who stated, The products are
actually a point of entry for a complicated story which brand
plays a part and society plays a part. Having a cohesive
narrative that is emitted from the design of the product
throughout the brand can ultimately help the customer
connect to the brand story. This should be consistent across
touch points so that the holistic experience is designed in a
way that reflects the product, brand, and customer. This
should begin from first experience with the company through
to final use at home. All elements make up a part of the larger
story. [The packaging is] often what sells it. Its the first thing
that people see. So the graphics and messaging gets that
person to buy it Heather Bybee, packaging designer at
Ammunition, explained that the packaging design is essential
because it is what sells the product. In store observation
revealed that packaging for quilted products takes away from
the tactile luxurious elements of a quilted products and are
either handmade with no cohesive packaging or in
unconsidered plastic packaging. This is a key area of
opportunity to improve brand touch points through verbal and
visual communication in packaging. It should communicate

the brand story and have a personal connection to the user
so they feel as though the organisation cares and they are
receiving something unique and personal.
TECHNOLOGY
Technology can help facilitate co-creation through
digital platforms, innovative new product materials, and
advanced digital fabric printing technology. These added
benefits could fill market needs and emotional needs of
objects beyond bed quilts!
This concept was supported by Katy Chapman who
said, I think the opportunity is to look where this look and
technology and anything else that goes into how you make a
quilt, where can that take us, whats the landscape for new
design ideas, how can we take this to the consumer in a way
thats brining all of that wonderful functionality but changes it
up a little. This defends the fact that functionality must be
considered, however there is more that needs to be done to
excite the customer. !
SERVICE DESIGN
Providing new services and service interaction that
can facilitate co-creation experiences in store and online
would be an area that can further enhance a good
experience with the organisation. If your talking about
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RECOMMENDATIONS
Strategic Solution
After researching, it is clear that there is an opportunity
to add emotional value to quilted products for customers,
through the use of a design-led innovation. The goal is to
attract customers outside of the quilting community, while
maintaining the current audience. To capture these
customers emotionally, a design strategy that connects
designers, makers and customers should be holistic and
cohesive, to create an innovative experience that
generates personal meaning to quilted products through
design.
STRATEGIC SOLUTION
The strategic solution for enhancing emotional value to
quilted products for customers today is for organisations to
follow the proposed four step framework and implementation
plan to ultimately create emotional quilted products that
reflect the core values of the company while connecting with
customers beyond commodity.
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Quilted Emotion: A Design-Led Innovation Framework

Create ongoing brand
success through:
DE
SIG
N
DE
ON
io n
Tech
n
olo g y
TI
MO
ul
n gf
Me a n i i c
et
Aest h
ti
nc
Fu
on
NO
AT
I
AL
IN
at
Pers
onal
S tory
EMOTIONAL
VALUE TO
QUILTED
PRODUCTS
SIG
De
s
tomer
Cus
BR
AN
D
Ch
a
Organis
atio
n
er
ign
SS
CE
C
SU
els
nn
re
-C
Co
Service Design: Provides

memorable, positive, new and
meaningful service interactions
with employees
Co-Creation: Provide new
meaning with the option to
contribute to making and
designing process of quilted
products
Technology: Platforms that
provide customisable and
personalised products in a simple
fun way in store and Online
e
S ervic
n
D esig
Provide innovative
interactions with
products and
organisation by:
ce
erien
Exp sign
De
ESS
OC
PR
Brand Communication:
Communicate cohesive brand
visually and verbally across all
touch-points in multiple ways
from first interaction to packaging
design, for loyal return customers
Channels: multi-channel sales,
range of retail stores and Online
that fit brand
Experience Design: Provide
personal memorable brand
experience reflecting quality and
creation process
Bran
Commun d
icati
on
Begin by creating a
holistic design
process by:
Organisation: Implementing
design at management level from
concept to final quilted product
and home use
Designer: Integrates
organisational and customer
needs, and curates designs while
manufacturing feasibility
Customer: Clearly defined and
voice heard through including
them in the design process.
Ignite emotion
through designing
tangible product
elements by:
Meaningful Aesthetic:
Fabrics, colors and patterns
reflect consumers personal style
Function: Range of products
that are useful and satisfies
consumers expected needs,
desires and lifestyle
Personal Story: Product
becomes a symbol for consumer,
facilitating an embedded
personal story, and sparking
memories
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Step 1: Design Process
ORGANISATION
The organisation should utilise design in the process from the
top down, by building a process that implements design from
the start, at the strategic level. Each step of the design
process that the organisation creating quilted products
undergoes, should be considered and holistic, following core
values of the organisation. Generating a cohesive system in
the organisation and connecting and managing separate
teams from upper management is essential to ensure a
holistic message and approach is implemented. This should
begin from initial concept generation, to final use of the
quilted product outside of the organisation, in daily life.
Managing design at the strategic and operational level from
the beginning, would be beneficial to ensure the design
process is tactical and influential to the organisation.
DESIGNER
The designers role would be to integrate organisation and
customer needs at the operational level. They would make
sure that the users voice is heard and implement this into the
execution of design. This would be in the creation of products
and experiences that the organisation provides for the
customers. They will ensure high quality curated designs that
fit with the organisation are innovative, on par with the user,
but also achievable and feasible to manufacture.
CUSTOMER
The target customer for the organisation must be clearly
defined at the start of the design process. Understanding
age, gender and lifestyle needs and desires are needed to
create an organisational process that is in line with the
customer. The customers voice will be heard if they are
considered and included in the design process.
!
!
Step 2: Emotional Design
FUNCTION
To design a product that emotionally resonates with the user,
it must be usable and satisfy the user's functional needs and
expectations. In order to ensure a range of customers are
captured and satisfied with the final functionality of the object
they choose to purchase, a range of products that can
accommodate several lifestyles would be appropriate.
Employing a wide product portfolio would enable the
aspirational customer to have the opportunity to own a part of
the brand, while the high end customer can choose
something more luxury, unique and bespoke. Having a range
of products from personal accessories through to home
74
pieces, that fit multiple price points and lifestyles is an

opportunity to capture new customers and excite returning
loyal customers.
elements that can communicate this for them throughout

each phase of the process will enhance the customers love
for the object.
MEANINGFUL AESTHETIC
Fabrics, colours and patterns that reflect the consumers
personal style are intrinsically meaningful to them. By using a
range of colour combinations and fabric materials from subtle
more Traditional colours in a Modern way, the design can be
relevant for both a traditional and modern customer. Looking
at the Modern Quilt Movement and trends in aesthetics and
styles as well as high fashion, the aesthetic can be more
desirable and meaningful, feeling a part of their personal
lifestyle. Because this emotional reaction will be experienced
and differ an personal level, generating this in the design
execution so they are attracted to the physical elements of
the product can be done by including users and providing
them with aesthetic choices.
PERSONAL STORY
A personal story can be imbedded in the object by using
design to create quilted objects that are symbolic for the user.
Using design to represent a personal story, intrinsic value can
be created in the product can transcend the physical object
and trigger memories. Tapping into these memories by using
design thinking to consider the consumer and design
Step 3: Innovation
SERVICE DESIGN
To create innovative service design, interactions that use
design should create memorable, positive, meaningful and
new experiences. This should be done at every interaction
between employees and customers to generate services they
desire and enjoy experiencing. Innovation and design
thinking should be used to create new meaning and a
personal connection with each user when they go through the
customer journey.
CO-CREATION
In order to ensure that the customers voice, style and
personal preference is heard, quilt organisations should give
them the opportunity to have a touch of the quilt making
tradition and process by allowing them to create products
that include them in the story of making. Allowing them to cocreate at different interaction level based on desired
experience, users can choose if they want products that are
slightly customisable by colour and design or highly
75
customisable and personal to them. Including them in the

process from choices of function, through to aesthetics, a
personal connection can be established providing innovation
through new meaning. Including customers in the making
process, even at the end stages, must be simple and clear. It
should also provide the customer with guidance and design
curation to encourage and empower them throughout the
process.
TECHNOLOGY
Innovative technology can be used to create platforms and
products that excite and attract new customers. Platforms
that provide customisable and personalised products in a
simple fun way, both in store and Online, can make facilitate
the creation of new meaning through technology push. This
should be done providing platforms that make the process of
co-creating new and fun for the customer. Similarly,
technology can be used in the fabrication of fabrics and
materials that satisfy functional needs of customers and
provide them with sensorial experiences based on the
intended function. Innovation in materials used to develop
quilted products can help them perform their intended
function and enhance aesthetic elements. For accessories,
fabrics that repel water, increase durability, or provide an
unexpected functional solution could be feasible. This in
combination with innovative customisable and personalised
technology platforms would provide the customer with two

layers of significant technological support to generate an
emotional connection.
Step 4: Brand Success
BRAND COMMUNICATION
Organisations must communicate a cohesive brand though
visually and verbally identity across all touch-points. For
quilted products,which are very tactile and material based,
the quality and feel of these pieces, lifestyle context, and the
process of how they are made, should be communicated
through touch point design. Brands must be authentic and
transparent in everything they do, by ensuring the core
values, as well as past and future story are told. To
communicate this story clearly to multiple users, it should be
told multiple ways across several touch points, considering
cohesive and personal design of first interaction through final
packaging to reflect the brand identity. Future ways to
communicate and continue to engage customers should be
considered and designed in ongoing innovative ways, to
generate loyal customers who return.
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CHANNELS
The customer should have multiple options and opportunities
to purchase quilted products by providing them with a variety
of sales channels to meet the needs of multiple users. They
should be designed in an intriguing, fun and simple manner
to make the purchase experience pleasant and products
easy to attain. The chosen sales channels should also be
cohesive and in line with service design and brand identity.
Providing the product and brand story through channel
choices.
allowing the user to create a memory and their own story with
the organisation.
EXPERIENCE DESIGN
Provide personal memorable brand experience should be
designed by creating new experiences with quilted products
for customers. They should be designed to reflecting quality,
ability to wear and age well, how they are designed, a bit of
history to allow the customer to understand the authenticity of
the brand, and innovative experiences by designing new
process for including the customer in the creation process. In
store experiences and online are essential touch points to
capture the customer with a designed experience that makes
them feel special. These positive experiences should guide
them and use colour, pattern, interior design and technology
to drive these experiences and present a lifestyle for the
customer both online and in store. This experience should be
so unique that intrinsic meaning has the potential to grow,
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Implementation& Organisational use

of Results:
PROPOSED PROCESS
This is the flow the framework would be used throughout the
organisation, ultimately managed at the strategic level by the
design manager. The framework would be used in an
ongoing iterative process.
Brand/
Organisation
Design Manager
Merchandiser/
Buyer
Limitations
There were limitations for this research were time and
testing. In the future this framework should be tested in
practice. Also, it should be validated within the manufacturing
process to ensure that the framework elements are
maintained though out to insure design integrity is
maintained. Because this was targeting a US market, further
testing with a larger number of customers would be needed.
Similarly, emotional response is still a subject that has yet to
be fully understood, so testing with completed products and
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Designer
Customer
Retailer
Home
!
in store and online product testing could help prove the
validity of this framework. Do to time constraints testing
ended at expert validation.
Despite these limitations, The way to create this value
must be a multifaceted approach that targets intrinsic
elements of the customer through all experiences with the
company, ensuring products aesthetics, usability and story
are cohesive and meaningful. Therefore creating a way to
include customer participation in the creation process could
help the user connect with the quilted product, designer,
maker, and company.
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Beneficiaries
INDUSTRY
Merchandisers
Buyers
Designers
Retailers
Quilt Makers
Customers
Consumers
ACADEMIA
Benefits and implementation of emotional value for

organisations and customers
Validation/ Evaluation
The framework was validated by 5 experts. Key
suggestions they made such as order and elements to
include about manufacturing were included for further testing
to confirm it was an iterative process.
I think the framework is solid.-Denyse Schmidt,
professional quilter and author
Overall if flows well and you have addressed the
major points of design process, emotional attachment,
innovation, and brand. Shannon Maher Professor FIT Home

Product Development
Shannon also commented on rearranging the order of
steps, however based on my research and other positive
feedback, I believe this should be done after further testing in
practice.
The chart you've put together is nice although I feel
that the four sections may not be equal. The Innovation
section within the quilting market is a very small portion within
the whole. It's niche and trendy...if this is the area to focus on
and to strengthen, there is lots if opportunity here.- Alecia
Rietman Textile Designer Hannover Direct
Because this is an ideal framework of areas to
strengthen, the sections should be equally considered.
I think your framework is really good. I think you
captured a holistic process that really taps into all areas of
design: strategy, designing with customers, service design,
product design etc. I also think your steps are in a very
thought through order that considers all players involved.
Heather Bybee, Packaging Designer
Hi, looks good and communicates very clearly. I
particularly like the outer ring, which walks you through the
stages to success. I also like how step 4 reads as though it
then feeds back into step 1 to make a cyclical model that
informs itself as it goes on, gaining experience and
79
knowledge, over time. Well done Jonathan Chapman, author

of Emotionally Durable Design
Key suggestions they made such as order and
elements to include about manufacturing were included for
further testing to confirm it was an iterative process. Overall,
the framework received positive feedback that key elements
were considered and validation was successful.
80

personalisation so I could go online then yes I think there
could be a market for it because then I can get exactly what I
want and I can show it off explained Prof. Ingrid Johnson,
this element is one which would require innovative and well
designed services between customers, employees,
designers, and the organisation. !
Otter Box had success with online customisation,
providing the customer with colour combination options. This
gives the customer the opportunity to co-create and
contribute to the creation of their desired cell phone case.
Heather Bybee, past designer at Otter Box, explained that the
colour combinations created by users online were more
popular than the ones that they pre designed for customers.
Innovation can help communicate the makers story to
the customer through experience design of the production
process and through the final product design elements. For
example, providing new services such as having a hand
stitched labels with the makers name and a personal hand
stitched message could communicate quality, brand and
product meaning through design, documented on the final
quilted product. Quilters traditionally signed and dated quilts,
so this would also capture an element of history.
EXPERIENCE DESIGN
This value is intrinsic, based on consumer experience and
is the ultimate purpose of the customer journey (Scridon,
2013). Focus Group: Desires: As both groups were excited

when modern quilted products were presented to them. They
were interested in adding a personal touch such as stitched
wording, labels, or shifts in colour combinations or patterns.
They did not feel as though quilted products available to
them reflected their personal style both in home and for
fashion accessories.!
!
Similarly, David Chapman author, explains that the
future of design for consumers will need to be designed for
empathy to create lasting experiences and objects because
of their connection to the user (Chapman, 2005).
Understanding the users needs and how to generate future
experiences with them is key in maintaining brand loyalty and
designing meaningful experiences with quilted products.
New meaning and experiences must be created for them and
with them to create products that have emotional value for
customers.
Ultimately, generating thisEmotional side of design
may be more critical to product success than its practical
elements (Norman, 2004). By providing the customer with
enhanced emotion, commercial and product success can be
achieved. Design, innovation, and brand should be used
holistically and strategically to generate a holistic approach to
emotional product design.
81

Having a positive experience with all aspects of the
company drives emotional value1 therefore a memorable
holistic strategy must be designed.
In order to achieve this, all people in the quilt making
process must come together to create a holistic cohesive
experience for the customer from textile design through retail
design. I believe an emotional design framework for the
quilting industry is needed for quilt companies selling quilted
products to enhance emotional value.
HOLISTIC APPROACH
The way to create this value must be a multifaceted
approach that targets intrinsic elements of the customer
through all experiences with the company, ensuring
products aesthetics, usability and story are cohesive and
meaningful. Therefore creating a way to include customer
participation in the creation process could help the user
connect with the quilted product, designer, maker, and
company.!
!
Design should be managed at the strategic, tactical
and operational level in a holistic manner, in order to manage
this holistic design process from the top down (Best, 2006)
This would ensure that all key elements needed to design
quilted products with enhanced emotion will be managed

and implemented. !
In order to maintain good design, the customer should
be guided through the process and involvement should be
fun and simple. By incorporating personal elements to the
quilted product, while ensuring colour theory, texture, quality,
and collaboration is achieved, the customer will understand
value purchasing a quilted product that is durable, well
designed, and meaningful. Allowing the customer to
contribute to the final product, perhaps choosing function,
form, materials, or design in store or online. A co-creation
experience choosing the design of function, form or
materials, could personally connect the customer and
enhance emotional connection.
This provides people who may not want to make a
quilt, with a product that they feel a personal connection with
and is both emotionally and physically durable because it
has user empathy, as Chapman explained. They would not
have to undergoing an intimidating laborious quilting
process, that many guild members said prevented them from
quilting, or confusing customisation. This would create an
understanding of the time, effort and meaning that goes into
quilts, with individual meaning for the customer.
82
CONCLUSION
Results provided insight into the historical and
cultural significance of quilting. The present state of the
quilting industry. Aspects that could emotionally connect
customers and quilters were discovered such as brand and
story. Also, the current system for making and selling quilts
was analysed to identify key areas of opportunity to use
design to enhance emotion. The problem of lack of emotional
value among those outside of the quilting community was
researched, understanding the emotional gap that sometimes
exists between quilt designer, maker and customer.
Emotion is created through multiple connections to the
customer particularly aesthetics, functions, and meaningful
story according to Norman. All of these aspects should be
designed to capture the user emotionally. However, research
shows that brand can make or break a sale, driving
consumer purchase and loyalty (Norman, 2004), so brand
must be a key element in the final strategy to ensure
positive emotion is generated.!
design to engage the user with an emotional experience. Cocreation between designer, maker, retailer and customer
would be recommended to ensure design is cohesive and
relevant to the customer, ultimately generating a personal
emotional connection. From textile deign to retail design,
cohesion and personal meaning is essential.
This work has contributed to an understand that
design, brand, and innovation are all key components
needed to create enhanced emotional products. A holistic
system, and design managed at the strategic level is needed
for enhanced emotional value to quilted products. This
provides a strategic way for quilt organisations in the US to
implement a design-led framework strategically to provides a
meaningful and emotional connection for the customer.
Overall, research was conducted considering essential
elements of design, strategy and innovation to result in a
holistic strategy to tackle the challenge of designing for
emotion.
A holistic approach is needed to generate emotional

value, because after studying Verganti and Norman it seems
people buy emotion not products. The design-led
innovation strategy must include an element of brand and
83
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APPENDIX A: GLOSSARY!
!
Bee: Sewing group where people sew together!
!
Emotional Value: the economic worth of positive feelings that customers experience when they deal with all aspects of an
organisation.1!
!
ETSY: Online craft sales platform!
!
Fabric Stash: Fabric collection!
!
Fabric Stash: Fabric collection!
!
Guild: Non- Profit charity that meets in public spaces and supports each other through quilting!
!
LMQG: London Modern Quilt Guild!
!
Patchwork: is the process of sewing together pieces of fabric. !
!
Quilt: Layered fabric that is stitched together !
!
Quilt Block: Square of stitched fabric pieces that is repeated in a pattern!
!
Quilting: The stitching that holds together layers of fabric !
!
!
2
(Barlow and Maul, 2000)
(Mulholland, 1996)
(Hinson, 1970)
(Hinson, 1970)
90
APPENDIX B: PERSONAS!
!
These helped me remember my user and define key elements to remember throughout researching.!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
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!
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!
!
Gloria Swiger Winter Park, FL
-46 years, Dental Hygienist
-Married, loves yoga, beauty
treatments, and art
-Likes to eat organic food
-Father recently passed away
-She saved his favourite
sweater and golf shirts, but
keeps them in the closet
Zuli Couch, Charleston SC

-30 years, Social Worker
-Loves to decorate home with
designer items
-Saving all of her daughters
baby clothes
-Donates to the local shelter
-Runs daily
-Only buys American made
products
Elyse Cruciani, Litchfield, CT

-25 years, Engaged
-Cosmetologist
-Desires items to remember
her special day
-Still has her grandmothers
ring that she gave her
-Believes high quality items
are worth the cost because
they last longer
Figure 1: User personas
!
!
!
!
91
APPENDIX C: INTERVIEW TABLE
92
Name
Role
Meeting Date
Interesting Fact
Johnathan
Chapman
emotional design
professor/ author/
Professor of Sustainable
Design at University of
Brighton
9 am June 6 Skype,
Brighton, England
It is as much about the making as it is the function of the object, so there is a lot of potential in that scenario for
narrative capability and also including the user in the process of creation. If the user becomes a co creator in the
object themselves, then in a very obvious way it!
includes the user in the final product in some way. The products are actually a point of entry for a complicated
story which brand plays a part and society plays a part.
David Godberg,
London
Group CEO, Elmwood

London
July 8th 3pm
Empathy is one of the most important skills in design and understanding customer needs. We have moved on
from commodity world into experience world. We now want the experience and the story behind. In terms of
design strategies, what are they, theyre stories. Every single brand activation touchpoint forms a small part of the
holistic story. In a story there is always a beginning, a middle and a never ending end. Never ending stories.
Nathan Flowers
Expert Viewpoint
Design strategy for a product you have to tell the story behind that product. You generate value, by allowing
the clearly articulated story to be told, and one that you are happy to stand by. Ideally you tell that story wherever
you are whatever you do. What I'm describing as emotion is story, because a story is an element that's not about
a product, its not functional. Its not this blanket will keep you warm, its everything else.
Jonatan Jelen
director of the new Master

of Science program in
Strategic Design and
Management at Parsons
3 pm June 23
Parsons NYC
The chaos pattern and game changers

that will help govern and define and
design that new environment tons of
private value with social means. The
model that now works incredibly well is
social inclusion.
"The big problem is there is a fallacy in the maker movement. They do not have the capacity to compete with the
equivalent product that people can get industrially made. But people don't care how its made unless you create a
context around it. People don't care about the product!
So your problem is its not about the quilts, and its not about the emotional attachment to the quilt. its about what
context do they need to create so that the way its made matters to people.
Jessica Corr
Design Strategy Assistant

Professor Parsons/
Luxury design and
strategy / furniture
design,product design,
transdisciplinary design/
Designer Tonichi
4pm June 25, NYC
I think you have to have both. You

definitely need something, the entry
level product is for the aspirational
customer. The person that wants to own
a piece of that dream but can only
afford that entry level.
"objects have meaning, they have to have meaning if you dont want people to throw them away. The meaning can
be anything from oh I get it, this is part of my identity.. it feels like you have a certain aesthetic that is part of your
tribe. To solving a function that hasnt been solved beforeIts a number of things but I think the most important
thing is that you have to add meaning.!
Packaging design
Ammunition
California
I think it would have much more to do

with the brand story than how its
actually made.!
[The packaging is] often what sells it. Its the first thing that!
people see. So the graphics and messaging gets that person to buy it and once they get that home, we want to
make sure that its a really good experience for them. The packaging should be a continuation of the product and
a continuation of whatever product that story is trying to tell.!
Heather Bybee
Honesty and transparency with

customers. How its made where its
sourced, how it gets to you. Probably
more back end story telling than
lifestyle, because thats usually what
you do once you get it.!
I think hand crafted goods, it has the human touch it has the thoughtfulness, its already imbedded with meaning.
I think its about knowing as much as you can about the product, the maker, the materials, I am speaking again
without numbers or research, but I would say that there has been a general trend in that direction, I think its good, I
think we should continue it because if you have knowledge about something it changes the way you behave
around it as well So its easier to throw something out or its easier not care for something,But that knowledge I
think adds value to the product. It adds more meaning to the consumer.
People are always going to be drawn to handmade stuff because its unique and special and one of a kind so I
think there is always going to be that edge.
!
Ingrid Johnson
Prof. Ingrid Johnson.

Home Products
Development Dept.!
Fashion Institute of
Technology: textile
science
9 am June 25
phone NYC
Shannon Maher
FIT Professor/Assistant
Professor, Home
Products Development at
Fashion Institute of
Technology
3:30 pm June 19th,

NYC
The brand is more important than the designer, particularly when we talk about textiles. The brand carries it. If
your talking about personalisation so I could go online then yes I think there could be a market for it because
then I can get exactly what I want and!
I can show it off
When ever designing for a brand it is

what has done well in the past, whats
worked. It's analyzing what season we
are in..... All of those things will
influence what type of product we end
up designing
Price I think deffinelty in home right now, I think price really drives the product. Price, whether the customer right
now, whether she be luxury or mass market, it is kind of a price driven market. But the fashion in home products is
really like the fashion in apparal, its driven by color and pattern. !
93
Name
Role
Meeting Date
Interesting Fact
Expert Viewpoint
Alicia Riteman
Experienced textile
product designer
specializing in home
fashions, lifestyle decor,
and product development/
Designs Bedding for
Hanover Direct
3:30 pm June 19th,

NYC
Speed to market is so important, so that

is a plus to working together from the
very beginning, so you have your goals
in mind and in line when you are
developing the product. And the other
thing is what brand.
I think that people have an initial emotional reaction to the aesthetic of whatever product that is because it is a
large item like your bed, your dressing up your bed which is kind of big, and its also changeable5:09 so as
apposed to the wall paint, and other things that are happening in your home, it's an easy change, but it is an
investment because you have it in their and you have to live with.!
Designer Croscill Home

Fashions Bedding Set
designer
1pm June 25 NYC
We are trying to get the Crosell name

and logo on the walls in signage and
the people who decide that are really
the buyers and the sales people all
around the country have to please
buyers so they will put our signs up.
The sales people are most important I
think, more important than design.!
Trying to get the late 30 year old and the late 20 year olds I think thats the way to go definitely. We are doing one,
one bright quilt
Robin Hairing
When I started in the industry it was all

in china it was 600 pieces a quilt and it
was 8 stitches an itch, it wasn't machine
appliqud it was hand, it was very very
different. All [companies] were
competing by price, not by looks not by
quality, not by design, just price. And
they went down and down until there
were only 40 patches per quilt and 4
stitches per inch and they got to be
pieces of trash.
Kabir Singh
Katy Chapman
NYC
"The Shop" & Handicraft"

Indian manufacturer
Vice President, Strategic

Market Development!
CHF Industries, Kate
Spain as a focus area is
quilts.
July 8th 10pm
NYC
see ourselves as supplying an amazing

quality product at an affordable price
and what we are trying to do is cut out
the middle man in these transactions,
so we are trying to do a lot of suff online
through our own websites, so we can
reach customers no matter where they
are.
I know in the west its all about handmade, so our printing process is silk screen so there is a guy running the silk
screen, but its not say block printed which we also do, which is a complete hand product Now everything is mass
produced, and no one else does what we do.!
I think their is a lust for color, you just

have to be careful in terms of how
colorful you get and what the color is.
When your talking about bedding youre
talking about the biggest canvas in your
house!
We like to be first to market with ideas because we feel the customer niche is to be able to bring our retail and
brand partners into new areas where they can differentiate, because the retail space is challenging. There are a lot
of ideas out there that are being recycled constantly. We feel our role as a company is to help our partners bring
something new to the consumers that is relevant, they they will want to buy and ensuring that there is something
new.!
Any kind of signage in store and

packaging is the way to hook them, but
when your online, you dont get to put
the packaging there, you dont
necessarily even have the logo on the
page, so online, the most important
thing to connect to the customers is the
photography.
most manufacturing is now very standardized and i think the larger ones are squeezing out other retailers and
manufacturers and everything is moving to a more corporatized situation !
If you look at the more mass retail aspect of quilts where they are mass produced or manufactured in larger
volume, I still see sort of that grandma's traditional quilt look out there and I think the opportunity is to look where
this look and technology and anything else that goes into how you make a quilt, where can that take us, whats the
landscape for new design ideas, how can we take this to the consumer in a way thats brinign all of that wonderful
functionality but changes it up a little
94
Name
Role
Meeting Date
Interesting Fact
Expert Viewpoint
Denyse
Schmidt
Author, commission/
commercial quilts!
Lizzy Rockwell Peace by
peace!
Linzee McCrayinzee.mccray@gmail.com
- home ec magazine story
Diane Rhem- radio show
12:00 June 17th

Bridgeport CT, !
her studio Need to
Contact
I am kind of in all of the industries,

quiliting industry and home funishing
industries!
I think the more people will go back to that wealth of wisdom that we had before, I think there is a
new generation that is looking at it not so much from a time cost ratio but from a quality of life!
I think a quilt can be a gateway

activity to that because its
functional, its useful, its beautiful,
and it's an everyday item and I
think that's what makes quilts so
powerful in general. I have a
sketchbook from when I first
started the business, and I
brainstormed about all the ways
quilts touch our lives and the
percentage of time we spend in
bed, and all the places that
touches in our lives, when we are
sick, when we are sleeping and
dreaming, having sex, our most
intimate moments
certainly there is a disconnect in the disposable culture, of that there is a person behind everything,
we dont think about that the way we buy things and especially they arent really made to last a long
time, so we get rid of it and buy another. We dont connect the object with making, even if its
manufactured [00:32:52], theres still people invoved its just to what degree. I think we mostly dont
make that connection and I think that is the key.
Traditional quilter
11am June 5
Annette Morgan
Snake Molting they have shows

I make things out of scraps like needle cases and I think pwople are happy to buy those becuase its
there and you are more likely to
a piece of my work and its small but its not giong to break the bank !
sell work there becuase they arent
quilters, they are people on holiday! If people want commission i will but Im not very keen to work on commission becuase usually your
making for what people want is always what they see in their head 7:34 I like to make and then for
I think it is getting the public to
people to buy it.!
appreciate it and see that it is an
artform, people tend to look at
I think with handmade quilts people dont realise how much work goes into it. A few years ago we
quilts and think well thats
were getting country quilts that were imported from the far east and the fabric and stitching wasn't
handmade or I could do that, when very good.!
actually it takes a lot of work. !
Non quilters look at a product and think its handmade that wont cost much because they dont factor
in the time it would take to make it.
!
!
!
Lauren Snyder
The Primary Essentials

Owner/ Handmade Gift
Shop Online/Offline
12:00 June 20
Atlantic Ave.
Brooklyn NY
We try to make it look

thoughtful when you recieve it!
tell them the story behind pieces, I tell them where it comes from, where its made how its
made, some people don't ask. I do try to tell people the story becuase I hope thats why
thier buying it. Naturally their are some people who care about those things and some
people who don't. But I think here in this community in Brooklyn, there are people who
really care about that and they want to know that its made by someone and they are
willing to spend a little extra for that. !
Everything I try to buy has to

have some sort of functionality.
There are some object I will
buy because they are
beautiful, but they can
If they go towards a cup and then I can say who it was made by, that their local, its
obviously only be so expensive handmade to sometimes ppush people to buy it because that story sometimes helps to
if its functional and it has has a sell it.[
special quality, it really goes
hand in hand and makes the
desire for it that much more
95
Name
Role
Meeting Date
Brandon
Hodges
Account executive at
design within reach/
Luxury Handmade and
Mass produced
customizable home
furnishings
10am June 20
Brooklyn Heights
Thomas Knauer
author/ meaningful quilter/

Modern
10 am June 6
Skype, Cambridge
England
Annie Baker
Quilt Shop Owner Village

Habidashery Owner
10:30 am May 28th
Interesting Fact
Expert Viewpoint
customer service and experience the!

customers connection to the store from start to finish, from the minute walking into the store to them
taking home a product to them having that product!
for 5-10 years, was never really thought out. We are talking 20 years into this company and I don't
think they really understand it or think about it enough.
We have a lot of interest in

basics, solid color prints.
12:39 feathers text!
I think it depends on the

design and designer. I think
cloud 9 is trying all different
substrates and all great
kind of exciting stuff. And
birtch has been doing great
georgeous knits which are
great for kids clothes and
adults clothes
Online is so instant that its click and buy but in the shop peopel take a little more
time to think about what they are doing with the fabric!
I think there is interest in using traditional patterns, we just did a class on the
turn dash quilt which is a traditoinal pattern. 22:52 My customers will still use
bright modern fabrics!
!
!
Then theirs quilt swaps with happen online and i think thats about wanting to be
apart of a community !
I rarely have traditional quilters come in, they are like two different worlds. When
you go to quilt market you think it is going to be really modern, but when you get
there you relaise most of the people in this industry are still very traditional and
want the baticks and muted colors and brown fabrics!
I cant really think of anyone out there who actually makes and sells their quilts.
Its expensive and time consuming and I think most people dont exaclty
appreciate the amount of time that goes into it and you can just go to the shop
and get a quilt
Cathy Izzo
The City Quilter Quilt

shop owner/ Gallery
Sales
3pm June 20 NYC
In the gallery only purely art quilts,

we havent tried to sell bed quilts
because I dont think anyone will
really pay this price for bed quilts. !
The fabrics that we have all

scream NY, because the market
we are going for is usually tourists
and they want to bring home a
souveneer and its fabric because
they are quilters and its really hard
to find that fabric
They are fine for what they are people need to keep warm at night, you want a blanket on your bed,
of course its just utilitarian its going to wear out and is probably not going to have a lot of meaning to
anyone. When it gets too dirty you will throw it out and get a new one. 18:12 The thing that I loved,
becuase I was a quiltmaker before I ouwned the store was, its making something that really appeals
to me. Its the colors I want the pattern I want, so a lot of work goes into it defenitley, but what i like is
this feeling of it, that its luxurious and its handmade, and its beautiful, but I actually use!
!
!
!
Its the idea that your sleeping under something that is totally unique, that you made, that you think is
georgeous.!
The problem for me is people who make them put in so much time and effort and love, and
comprobly you can get something thats pretty and useful for less than $100!
I think most people get intrigued by the fabrics, theres something thats going to peak your interest,
and you are going to say I want that piece of fabric in my house somehow
96
Name
Role
Meeting Date
Interesting Fact
Expert Viewpoint
Ben Rubin
Christine
Michael Miller Fabrics/

Production manager/
International sales
manager
11 June 25 am
Michael Miller NYC
It is pattern, but color is what

drives our company so much,
we have always been ahead of
the trends as far as color is
concerned!
the newer sewer, modern sewer, I wouldnt say its younger, it's a mind set. So when you
talk about the modern quilt guild its not a younger customer, its a modern customer that
has a different way of thinking, to say its an age would be innapropriate, customer looking
less traditional!
!!
Thats a challenge as far as

marketing that product. We
have our solids which are
called cotton cotour its a
higher quality solid, its a higher
yarn count, so its tigher and it
has a nice silky sheen to it,
and its got a nice drape to it,
and it feels great when you
touch it. Someone once told
me it's like flying first class,
once you do it you can't go
back because its such a nice
quality product.[00:11:22] In
terms of marketing its hard to
project that because you cant
market that feel, so we have to
rely a little bit on social media
for that in terms of getting the
message out.
Social networking is huge, because our industry is so visual, instagram and pintrest have
become really big for us, definetly a lot of big online componenet especially because its
visual and people want that instant gratification!
We rely on our sales reps a little bit for that, bc they are the ones visiting the stores and
representing our products, through brochures, or the blogs, and we hope that the sales
reps would bring that to thier attention, and get that information to them.!
There is always strategies that we have, we always want to come out with the next best
product, increase our market share, we want to be ahead of the curve, so their are
always different strategies in our minds. Not just the next best fabrics, marketing strategy,
its going to be unique from what other people are doing. Its not just what is the print going
to be, its whats the next big thing, so consistently coming up with ideas!
I think there is always going to be a market for the traditional I think its important to be in
that too, we just started a batik line which is very traditional, and we have had a lot of
success with that so there is definelty the more traditional customers out there and I think
batiks go both ways, its open our eyes a little bit to say, ok we dont have to be just all
modern, we can be something else
97

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Knight, T. (2013) Welcoming winter. http://www.selectivepotential.com/2013_11_01_archive.html (Accessed: 8 May 2014).

Jaimie Gerst I 1314970

word count: 19,544

Analysis & Discussion

GERST DSI DISSERTATION

This course has challenged me mentally, physically

A special thanks to Dr. Lam for her unconditional

Chris Holt, my supervisor and my therapist, I am so

To my Brunel University peers, Akshara, Ionna, Peter,

To my family, thank you for believing in me at times

DSI DISSERTATION GERST

DSI DISSERTATION GERST

To create a design strategy for the US quilting industry

DSI DISSERTATION GERST

Research was done with a balanced methodology in

TRADITIONAL VS MODERN QUILTING

ENHANCING EMOTION THROUGH DESIGN

QUILT MAKING ORDERING & PURCHASE PROCESS

Service Design: Provides

DSI DISSERTATION GERST

Create desired memorable

provide innovative quilted products

Create ongoing brand

Utilise technology to facilitate online

Provide customers with the opportunity

Quilted Emotion: A Design-Led Innovation Framework

Include customers in the design

DSI DISSERTATION GERST

heirloom that can be handed down and improves as fabrics

INDUSTRY & MARKET// AREA OF RESEARCH

Figure 1: Quilting essentials: basic quilting tools and

Figure 2: Majority expenditures is because of only 6.2% of

DSI DISSERTATION GERST

2017, particularly with baby boomers taking up hobbies with

Figure 3: Quilters declined in 2010, but

Key/Real Problems & Challenges

DSI DISSERTATION GERST

LOW EMOTIONAL VALUE

SELLING QUILTED PRODUCTS

DSI DISSERTATION GERST

Figure 4: My first group charity quilt

Figure 5: My second quilt for

DSI DISSERTATION GERST

DSI DISSERTATION GERST

Key Research Question

The core question for research is to understand how

Key objectives will provide a greater understanding of

1. To investigate the history of quilts and identify why quilters

Scope & Main Focus

The scope of this research will be understanding all

Researching the process of quilting, mass producing

This is because quilting is a traditional American craft

Currently, it is difficult to find a connection between

Overall, there is escalating interest in understanding

DSI DISSERTATION GERST

DSI DISSERTATION GERST

DSI DISSERTATION GERST

DSI DISSERTATION GERST

Objectives & Methods

To investigate the history of quilts and identify

DSI DISSERTATION GERST

38 Journals and Web Articles

5 US Product Design Students