INCLUSIVE DESIGN FOR
REGAINING LOST IDENTITY:
Accessible, Aesthetic and Effortless Clothing

INCLUSIVE DESIGN FOR
REGAINING LOST IDENTITY:
Accessible, Aesthetic and Effortless Clothing

By:
Sukriti Tandon
(Bachelor of Design, GD Goenka University, 2016)

A critical and process documentation paper submitted in partial
fulfilment of the requirements for the degree of
Master of Design

Emily Carr University of Art+Design
2019

Sukriti Tandon, 2019

ACKNOWLEDGEMENT
I would like to begin by thanking the two non-governmental organizations,
Samarthyam, India and Neil Squire Society, Canada for their vital support which
was critical in order to undertake the present research. In particular, special thanks
to Anjlee Agarwal and Suzzane Weins for the immense support they extended
through the project. I benefited greatly from the excellent and extensive insights
they shared. I also thank all the participants for taking the time to participate in my
research and for their constant involvement and enthusiasm without which, this
study could not have been possible.
I am incredibly thankful to my Supervisor, Professor Maxe Fisher for all the
guidance, unwavering support and direction to help me throughout the project. Her
invaluable guidance has been indispensable to bring about the successful
completion of the undertaken project. The expert support of the Faculty at Emily
Carr University of Art+Design and the positive and creative atmosphere created by
all my peers was boundless.
A special mention to, Aaron Oussoren, for enthusiastic encouragement in
developing the fasteners and for offering me the resources to develop them and
useful critique thereof. It was a great value addition to the research.
My special gratitude to Gillespie Design Research Fund for partially
supporting the research.
Last, but not the least, my special regards and thanks to my parents for their
love, encouragement and undeterred belief in me that has enabled me to move
ahead fearlessly and with confidence.

ABSTRACT
Inclusive Design for Regaining Lost Identity is a research project that
aims to design and develop accessible clothing that is inclusive and fashionable to
foster psycho-social well-being and to enhance the self-esteem of women with
disabilities. The research explored inclusive design solutions for the saree – a
traditional Indian garment for women, through a practice-led iterative
methodology of designing and producing pragmatic and aesthetic sarees with
enhanced ease of dressing and undressing. These sarees are intended to offer the
participants a sense of independence and individuality whilst responding to their
needs for self-expression.
Clothing for persons with disabilities frequently follows a medical model
which focuses on their inabilities. Such experiences tend to aggravate feelings of
inadequacy and lower self-esteem due to the limited choices of pertinent
fashionable clothing. Ethnographic research was conducted with women in the age
range of twenty to forty years with mild to moderate physical disabilities, including
those with cerebral palsy, reduced dexterity and limb amputations. Investigations
into apparel-related barriers they face and their expectations and desires about
clothing pointed to a huge void in terms of designed inclusive clothing for women
with physical disabilities. Self-efficacy emerged as a significant criteria for the
selection of garments.
A series of informed study prototypes of adaptive sarees were designed and
developed along with an exploration into the feasibility of 3D printed fasteners
intended to alleviate potential feelings of frustration and deprivation while wearing
a saree as well as acknowledging the cultural significance of ornamentation. The
EYWORDS saree is an elaborate garment that requires precise draping, which makes the saree
complicated to wear and inconvenient to carry, particularly for women with
Applied Design
physical disabilities. For many women in India, the saree remains the customary
dress, especially for work and occasions, yet minimal progress and advancement has
Co-creation
been made to enhance its accessibility and ease of use.

K

Design Ethics

This research aspires to provide inclusive design solutions that seamlessly
embrace persons with disabilities, to elevate their agency and to challenge and
Inclusive Clothing
change prevailing negative attitudes, misconceptions, and stereotypes in relation to
Participatory Design their specific needs and desires.

T ABLE OF CONTENT
1 INTRODUCTION

4

2 CONTEXT

8

2.1 Context

9

2.2 Significance of the Study

12

2.3 Research Questions

13

2.4 Scope and Limitations

14

3 METHODOLOGY

16

3.1 Phases

17

3.2 Ethical Consideration

19

3.2.1 Ethics
3.2.2 Consent

3.3 Phase 1: Precedent Research

19

3.4 Phase 2: Contextual Inquiry

21

3.5 Phase 3: Prototyping and Participant Testing

22

3.5.1 Ideation
3.5.2 Prototyping
3.5.3 Concept Testing: Focused Wear Test
3.5.4 Prototyping of Fasteners
3.5.5 Co-creation Workshop
3.5.6 Concept Testing: Wear Test

4 DATA COLLECTION AND ANALYSIS
4.1 Need Assessment

38
39

4.1.1 Challenges Faced by Women with Physical Disabilities
4.1.2 Criteria for Selection of Clothing
4.1..3 Suitability of Ready-to-Wear Clothing

4.2 Wear Test

42

4.3 Outcomes

44

5 FUTURE DIRECTION
6 CONLCUSION

46

7 BIBLIOGRAPHY
8 APPENDICES

56

50

63

"I think your design solutions are
respectful of our diverse needs.
This saree may signify
convenience to others...for me it
equates to independence. I don’t
need to rely on the kindness of
others to be able to wear what I

"

want to wear.

01

I NTRODUCTION

Clothing is a need of all human beings.
It serves the important functions of protection
and safety as well as modesty by covering the
body, a code of decency. As a form of selfexpression and bodily adornment, clothing is a
reflection of personal taste, individual choices,
and is a representation of feelings, mood and
personality. Clothing is a form of visual
conversation. These aspects affect the purchase
and use of clothing (Kidd, 2006, Carroll &
Kincade, 2007, Stokes & Black, 2012, Esmail et
al., 2018). Clothing also holds social and
cultural significance; establishing sociocultural identity, situating oneself in one’s
environment, facilitating belonging and fitting
in, and status identification.
While comfort and functionality remain
important aspects of clothing, aesthetic
qualities are equally meaningful. These are
the desires and needs of all people, with or
without a disability. In fact, the needs of the
persons with disabilities are further

exacerbated, as many cannot simply select a clothing item off the retail rack and
wear it due to variations in their body measurements from the industry guidelines,
dependency on mobility devices along with some limitations and dysfunctions in
their muscular movements. These are the reasons that clothing available in the
mainstream fashion industry often does not fit well on the bodies of persons with
disabilities and are difficult to don and doff. On the other hand, functional clothing
available for them is often made with an assumption that clothes for persons with
disabilities need to consider only their functional needs, and style/design details are
not of meaningful significance.
Persons with disabilities are often looked upon as unique and being divergent
from the social norm. Uniqueness or being different from most others can have both
positive and negative aspects. The negative aspects of uniqueness are believed to be
dependant on symbolic things like clothing (Wingate, Kaiser and Freeman, 1986). In
case of persons with disabilities, their uniqueness is often equated to being
incapacitated and incompetent. They are rarely considered as potential customers in
the clothing industry. The practice of designing clothes often inhibits their autonomy,

05

as most clothing is produced without taking into consideration any atypical body
form. Such clothes compromise their self-esteem since they cannot manage them
independently.
The main purpose of this research is to bridge the gap between aesthetics and
functionality in the design of clothing for women with disabilities. Aesthetics refer to
the visual details of form, colour and textures within this thesis. User-centered
inclusive garments were designed with enhanced functionality and aesthetics to
positively respond to the emotional desire of women with disabilities to express
themselves.

06

02
CONTEXT

2.1 CONTEXT
The rights of persons with disabilities are of high priority on the global agenda.
The UN Sustainable Development Goals (SDGs) have embraced inclusion as integral to
the transformation to a more sustainable future for all sought to be achieved by 2030.
Persons with disabilities find specific mention in multiple indicators of the SDGs on
reducing inequities, education, employment, inclusive cities, and data collection and
implementation. Of crucial significance is Goal 10, which strives to reduce inequality
within and among countries by empowering and promoting social, economic and
political inclusion of all, including persons with disabilities. ("Sustainable Development
Goals (SDGs) and Disability | United Nations Enable", 2019). These ambitious goals and
targets drive the focus on inclusion by eliminating disparities and ensuring equality
for all.
An inclusive design approach is equally gaining momentum worldwide. This
approach is appreciative of diversity and envisions designing products and services
for the widest possible range of users, such that they promote a state of being included
or being an integral part of something (Zitzelsberger, 2005), thus ensuring equal
access to all provisions of society.
Despite such promising provisions at the global policy level, persons with
disabilities still largely remain discriminated against and excluded from. Negative
attitudes are demonstrated towards them by their families, friends, and society. Hence,
social and psychological risks arise due to their exclusion from society and the notion
of being thought of as different (Wright, 1973, Pfeiffer, 2001).
It is commonly observed that in routine conversations of and with persons
with disabilities, their disabilities are noted before their individual personality and
feelings, thus sidelining their identity. So much so that their disabilities start defining
the products made for them. They are rarely expected to exercise choice, inclusive of
their clothing. This is further exacerbated in the case of women with disabilities. Their
disabilities often compound the gender-based stereotyping as ‘dependents’ and
discrimination that women generally face in society. This invariably makes them feel
invisible and has them question their own self-perception, which leads them to have
a marginalized identity (Finkelstein, 1980, Zitzelsberger, 2005, Carroll & Gross, 2010).
It has been noted that women with disabilities are specifically and more often
neglected by the society. Despite their keenness and efforts to take charge of their
lives and aspirations to feel included, to be involved in social activities, head out to
work, etc., negative societal attitudes do not provide context for such endeavors. This
furthers a sense of being inept for women with disabilities.
Despite having a desire to wear fashionable clothing, persons with disabilities
are often unable to wear them. The existing options of adaptive clothing make them
stand out and foster discrimination. Within the broad range of physical disabilities,
there are persons with limited mobility and high level of dependency who rely on
others for

09

their dressing. They are often forced to wear certain clothes (because of the comfort
and ease in wearing them), which may not be what they would like to wear. Such
experiences on a routine basis are likely to provoke upsetting thoughts, which
implies that commonly available clothing adds to their woes (Kabel, 2016). Currently,
there exists a wide gap between fashionable contemporary clothing and accessible
clothing commonly available for persons with disabilities. Further, designers when
experimenting with contemporary constructions of traditional designs/garments
often overlook responsiveness, ie. being sympathetic and sensitive to the needs of
persons with disabilities.
Shulman (2014) notes in an article in The Guardian that “fashion industry is
letting down people with disabilities – to its cost.” According to her, ethics
and social responsibility in the field of fashion design are about “access to style” by
developing affordable alternatives, for persons with disabilities, which are effective
solutions and create positive change for consumers. "Shedding old paradigms can
allow people with disabilities to be treated with respect and admiration”
expresses Paralympian Stef Reid.
The saree is a traditional dress and an integral part of customary dressing
in India, both for work and occasions, for all women – with or without
disability. It is a widely accepted garment especially during cultural functions,
gatherings and other social occasions and work. Though the saree is an epitome
of grace, self-confidence and elegance, it takes some effort from the wearer to
put it on properly. Draping a saree is a little complicated, time consuming and
requires some practice. Additionally, there are some common assumptions about
the saree. It is assumed that every Indian woman knows how to drape a saree.
The visual appearance of a woman wearing a saree does not give the impression
that it is a complicated garment to don, particularly for women with disabilities.
Due to these challenges, feelings of being left out and less competent,
particularly when attending social functions, gatherings and workplaces arise
(Klepp and Rysst, 2016). This current gap is the impetus for the research project
Inclusive Design for Regaining Lost Identity.

10

(A)

(E) .

(B)

(F)

(C)

(D)

(G)

(H)

Figure 1 :Step-to-step on how to drape an unstitched, unaltered, traditional saree
The entire ensemble of saree comprises of three separate pieces, a blouse,
an underskirt and a saree of a length of 6 meters. (A) After the blouse and the
underskirt are worn, (B) one end of the saree is tucked into the underskirt, and
(C) a full round is draped from right to left is made tucking the fabric in the
underskirt. (D) About five to six pleats are formed which are approximately
the length of one hand span, (E) the pleats are gathered together and tucked in
the underskirt facing left in the exact centre of the front of the body. (F) The
loose end of the drape is wound around the body again and (G) thrown over
the shoulder covering the midriff in a slant and (H) leaving the end of the
fabric hanging nearly till the back of the knee. This part of the saree is known
as palla. The palla can be loosely draped over the arm or pleated to sit on the
shoulder.

The research is guided by the social model of disability which suggests that
barriers faced by persons with disabilities are not solely due to their impairments,
but are due to the barriers in their environments, inclusive of physical, attitudinal,
communication and social barriers. The underlying principle of the project is that
every individual should be able to access life the way they wish to and should not
have to compromise their desires due to their disability.
The core of the research lies in challenging the current perceptions of clothing
for women with disabilities and is intended to promote inclusion with the
construction of contemporary functional clothing to regain their dignity and
identity. The designed garments in this research project are based on the cultural and
social context of the Indian saree and are aimed to positively respond to the
emotional needs and desires of women with disabilities by designing clothing to
express themselves, have greater independence and a sense of individuality.

11

2.2 S IGNIFICANCE OF THE STUDY
The research aimed to understand the barriers faced by women with
disabilities in relation to clothing and to co-create well-designed accessible sarees. It
was intended to expand their choice of expression and the feelings they experience
in wearing garments with enhanced accessibility. This approach is well aligned to the
‘rights-based approach’ (UNICEF, 2019), emphasizing that they have rights equal to
all others. Manzini (2006) proposes that designers can have an influence on the
social construct of well-being. He makes a strong case for developing design
solutions which are truly informed by ethics and are capable of promoting a
sustainable model for ‘well-being’. McBee-Black (2016) and Ha-Brookshire (2018)
corroborate this proposition and further emphasize the contribution of clothing in
enhancing the self-efficacy of persons with disabilities and in positively influencing
the social expectation of their well-being. Well-designed clothing has also been
found to be an enhancer of self-esteem and an enabler for women with disabilities to
be an integral part of an inclusive society (Chang, Hodges & Yurchisin, 2013).
Disregarding the increasing significant recognition of the need for inclusive
clothing, sufficient attention has not yet been paid to promote inclusive design practices.
Clothing stores do not cater to the specific needs of women with disabilities. It is difficult
for them to find clothing that is suitable in terms of style and ideal fit. The other
alternative, i.e., altered clothing does not offer the preferred solutions (Kidd, 2006).
Moreover, retail store designs often do not allow easy access to persons with disabilities,
which further escalates their exclusion (Klerk and Ampousah, 2002, Chang et al., 2009).
Such experiences aggravate the feeling of insufficiency and exclusion.
Pulin (2009) argues that many products that are specifically designed for
disabilities lack personality and tend to neglect the individual person and their identity,
leaving them with fewer product choices. According to him, designs should take into
account the lived experiences of persons with disabilities when creating products that
have a human-centric approach and effectively meet their needs.
The manner in which off-the-shelf work and occasion wear is designed generally
caters to the typical body forms which follow size guidelines developed by the clothing
industry, and does not take into consideration body forms that lie outside of the typical
body. These types of clothes often inhibit the autonomy of women with disabilities and
compromise their sense of self-worth as they are unable to manage independently.
Although some adaptive clothing is available for women with disabilities, very
limited options exist of well-designed work wear, and almost negligible occasion wear.
The review of literature and the current practices pointed out that, so far, little has been
done in relation to enhancing the functional accessibility of the saree. Adaptive clothing
is mainly designed to cater to functional requirements and does not pay attention to
aesthetic considerations. Also, adaptive clothing or customized clothing is often priced at
a higher end, keeping it out of reach for those who need it the most.

12

Accessibility can be increased by taking into consideration the varied needs and
broader characteristics of different persons when designing. Persson et al. (2004) state that
the main aim of designing must be to create aesthetic and functional objects and
environments that improve the quality of life. They also suggest that for a design process to
be participatory, the target users should be active members of the entire process. Martin and
Martin (2012) envision bulk production of products and clothing for persons with disabilities
following the principles of universal design and an understanding of ergonomics maintaining
the experience of the participants as the key criteria to be considered in the process.
The hope would be that the designs developed in this research would eventually have
a positive influence on the perceptions of women with disabilities about accessible clothing.
The motivation is to bring a change in the practice and design of inclusive clothing,
broadening it from the current limited approach of focusing primarily on functionality to
contemporarily designed functional clothing for every social context from work wear to
occasion wear. The long term goal is to promote inclusive design strategies in the mainstream
design industry.

2.3 RESEARCH QUESTIONS
The research was intended to study the clothing needs of persons with disabilities.
However, precedent research revealed that there are different disabilities, and within
each disability there is a range and that the clothing requirements vary according to the
type and degree of the disability. This new knowledge enabled an understanding that for
this exploratory research project, it would be beneficial to narrow down the scope of the
research. The objectives of the present research are:
To investigate how women with physical disabilities perceive
themselves in relation to contemporary design and the barriers they
face in relation to clothing.

To apply the gained knowledge to design and develop saree prototypes
that consider both functional and aesthetic qualities thereby
increasing the psycho-social and emotional well-being of women with
physical disabilities while giving them agency to creatively express
themselves through their clothes.

13

2.4 SCOPE & LIMITATIONS
This research fosters an understanding of real clothing
needs, both functional and aesthetic, of the target group of
women and the specific factors that are significant to
designing clothing for women with disabilities. This specific
understanding can augment and expand existing
foundational knowledge related to current accessible clothing.
The research followed the principles of inclusive
design. A range of abilities and disabilities of the participants
were divided into groups of common issues. The prototypes
were then designed to respond to these different groups of
common issues, thus making some sarees which could be
useful for a certain type of impairments. The product
development insights gained through this research have
future implications for inclusive design practices to enhance
the ease of wearability and to align with contemporary
design details of inclusive clothing to improve quality of life
for women with disabilities.
It is recognized that the research is limited in terms of
the age range, the types of disabilities and their range.. The
disabilities and their abilities and limitations were
deliberately selected as the criteria for this research and for
their cultural and gender specificity. From the perspective of
the broader implementations from these results, the scope of
this research thus remains limited, considering that there are
different disabilities and within each disability also there is a
range. Each person with a disability is likely to have
variations in physical characteristics, differences in abilities,
and hence, varied needs. This research also prompts the
question of whether universality could or should be an aim
of adaptive clothing, following the inclusive design approach,
since the needs of each person with disability are very
specific.
Further, while this research project successfully developed contemporarily
designed accessible sarees, questions remain with respect to scaling up of such
garments. For example, can an adaptive saree be made available as ‘off-the-rack’
choice, considering the customization of length, adjustment of waist, etc. required to
suit the specific needs of the wearer? If not, then does it imply that each time a woman
with a disability desires to wear a saree, she will have to hunt around for a designer
to customize it for her?

14

03

M ETHODOLOGY

3.1 PHASES
The research process was divided into three main phases.
Phase One. Precedent Research - extensive search of relevant literature and
existing projects relevant to the research topic.
Phase Two. Contextual Inquiry - understanding the real-life situation of the
participants, barriers that participants struggled to navigate in their daily lives;
their expectations from products, their knowledge of available clothing options,
and understanding of the problem space and feasible solutions for the same.
Phase Three. Prototypes and Participant Testing - design and development of
possible solutions to clothing related barriers, co-creation workshop followed by
wear tests.
The project followed a qualitative research approach whilst incorporating a
combination of methods, which consisted of a questionnaire, an interview and co-creation
workshops. The research adhered to the principles of applied research such that the
designed products aim to solve a problem are functional and purposeful. Design thinking
methodology was used. It is a method to respond actively to the needs of the end user with
an intent to provide solutions. The five main phases of this methodology are empathizing,
defining, ideation, prototyping and testing.
The initial phase of the research process was exploratory in nature. Preferred
requirements of clothing were gathered from women with disabilities. Observation trials
were experienced. This was followed by participatory design research. Insights from
interviews and observations were used to develop, design and produce prototypes of
accessible garments. The participants actively participated in this research through design
study in co-creating the prototypes to inform the design solutions.
The purposive selective sampling method was followed for this research. This method
entails a specific selection of experiential rich and knowledgeable participants suitable to
the scope and objectives of the study with a keen interest in taking part and offering
fruitful suggestions. This method of sampling has been found to be most effective when a
certain cultural domain is to be taken into consideration. Although, the conclusions drawn
and the applicability of the results can sometimes be questioned it is of value to consider
that a random sample would not have provided significantly valuable information which
was being sought from the participants.
As this research explored innovative ways to design adaptive sarees with
contemporary design details, a representative sample of active women in the age range of
twenty to forty years with mild to moderate range of physical disabilities, particularly, limb
amputations, reduced dexterity and cerebral palsy was determined The mild to moderate
range of disability, (mild being the range in which the participants had some restrictions in
movement but did not need any assistance. The moderate disability being the range
wherein participants were dependent on assistive devices), was identified as a criterion for
this research sample selection. For the purpose of this research, it was important that the
participants had some control over their movements and the ability to dress and undress.

17

The age group of twenty to forty years was chosen for the ways in which women
in this age group frequent social events and dress for their active life (outside of home)
as different from the older women. They are also more likely to be interested in wearing
contemporary designs. The saree is a customary dress for adult women in India. Young
girls and teenagers commonly do not wear a saree, and would not have experienced
relevant difficulties to contribute significantly to the research. Therefore, the lower age
bar of twenty years as the selection criteria was chosen as appropriate. The upper age bar
of 40 years was more informed by general discussions of the research topic with a
saree-wearing population in India. It revealed that older women were accustomed to the
traditional saree did not show an eagerness, and may have had inhibitions in accepting
contemporary designed sarees. This is reflected in the manner in which women in
different age groups are usually attired. Taking cognizance of these factors was decided to
limit the age range from twenty to forty years as significant and pertinent of the aims
and intentions of the research. In addition, the assumption is that women in this age
group are more likely to be in charge and have meaningful control over their decisions,
which in turn, influences their choice making about clothing.
Furthermore, privacy laws often prevent listings of persons with disabilities. The
NGOs approached for the research shared the questionnaires with their contact lists.
Women who self-identified themselves as interested in the study were finally chosen as
the participants.
This was an exploratory study, with not much precedent research available as the
evidence. Therefore, in the early stages of developing the research, the initial thought was
to cover all disabilities. However, review of literature informed that there is a wide range
of disabilities. Recognizing that the present project was only a scoping study, it was
considered appropriate to narrow the sample subjects most appropriate to the study, who
could provide the necessary information to address research questions, and to ensure that
it should not be too difficult to recruit or keep the participants in the study.
It was hypothesized that women with permanent disabilities would respond more
positively towards functional clothing due to their long term challenges, as compared to
women with temporary disabilities, who are likely to view their condition as a stage that
will pass in sometime. Even though the participants of the study represent a narrow
range of permanent physical disabilities in mild to moderate range, the efforts made in
the research to explore and respond to different humans’ needs and the achieved design
outcomes to explore and respond to different humans’ needs have the power to transform
the lives of not just those with physical disabilities but anyone in pursuit of ease
and efficiency, including persons with temporary disabilities (due to accidents or
injuries), and for any other woman, such as those rushing to work.
Furthermore, the disabilities of participants are noted only for informational purposes.
The purpose of the interviews was not to compare individuals with disabilities and their
respective dressing needs, but rather, the purpose of this exploratory study was also to
understand and consideer the dressing ability and behaviour of disabled consumers in a
general sense.

18

In Phase Two of the research, a selection of non-governmental organizations working for
persons with disabilities were approached to seek their support in reaching out to
women with disabilities. Two of the organizations, namely Samarthyam in Delhi, India
and Neil Squire Society in Vancouver, Canada agreed to support the research. The
participants were contacted with their support via an open-ended questionnaire posted
on the social media pages of the NGOs. The contact details of the researcher were given in
the proforma for easy contact by women who were interested to be a part of the
research, the co-creation workshop and wear-test to follow. The participants finally
selected were intellectually capable and legally competent adults who gave consent for
participation in this research.
From among the participants in Phase Two, a total of five women were selected for Phase
Three, based on the similarities and differences in the specificities of their movements,
gesticulations, variation in their fine motor abilities, and interest in wearing saree. Since
this was a small sample, the intention was to select women with different abilities and
movements within a broad range of the selected physical impairments. This selection was
made so that the garments developed in the project would not be limited in their
responsiveness to a typical impairment but had the potential to respond to a range of
impairments through a possible family of products that could be derived from the
prototypes.

3.2 E THICAL CONSIDERATIONS
Persons with disabilities often face exclusion and discrimination. Their product
options are limited and often do not take into consideration the vast range of their
requirements, which increases the emphasis on their particular disabilities and highlights
their inabilities. This can at times lead to feelings of distress, apathy and selfconsciousness. This research entailed asking the participants several questions pertaining
to their disability and the barriers they face, both physical and attitudinal. Such questions
could have brought out suppressed emotions and caused some psychological distress. Due
care was taken at the time of interview to ask questions and receive responses in a nonjudgemental manner, and avoid escalation of any negative emotions.
The process of testing the prototypes in itself did not involve any major physical
risk. However, as the sample group already had certain physical barriers, some difficulties
did arise during wear tests. These difficulties were neither perceived nor communicated
to the participants as their inadequacies. Instead, they were understood as challenges that
should be addressed by enhancing the prototypes.

3.2.1 Ethics
The primary research was conducted in accordance with the project proposal
approved by the Research Ethics Board of Emily Carr University of Art + Design.

19

3.2.2 Consent
Full disclosures about the research and the involved processes were communicated to
the participants of the study. Their consent was confirmed before and during the research. The
Consent Form was reviewed by the participants before any participatory session to ensure they
understood the activities and to assure them that their personal information is secure and will
not be disseminated without their prior consent. The participants were informed about their
right to conclude their participation in the research at any time, if they wished to.

3.3 PHASE ONE
PRECEDENT RESEARCH
Precedent research involved investigating and synthesizing existing theoretical,
methodological and practical pools of research and projects of relevance to apparel for persons
with disabilities and examining past work related to the field of study. Visits to the NGO’s and a
wide spectrum of primary and secondary literature, additional interviews, and available data
analysis were utilized for this purpose. An overview was gained in regards to the concerns
related to the disabilities in different spheres: social rights, access, fashion, cultures and mobility.
A comprehensive understanding was developed about the impact of mild to moderate physical
disabilities, including on the physical movements and abilities and psycho-social and
emotional well-being of persons with disabilities, in order to design and cater to the needs of
the participants.
A review of the precedent research was completed to comprehend how other researchers
has addressed inclusion and how they have attempted to tackle existing exclusionary practices.
The review highlighted that although there was sufficient literature available regarding
persons with disabilities, their needs, rights, education, etc., it revealed a limitation in published
research specifically with respect to adaptive clothing and inclusive design. Of the available
resources, many were either research work undertaken as a part of Master/Ph.D. programs or
were blogs and magazine articles. These were further limited in scope and in offering
pragmatic solutions. This pointed to a dearth of published research on clothing for persons with
disabilities.
A dipstick review of the existing design practices for adaptive and accessible clothing
was also undertaken to ascertain the spectrum of available product choices and what solutions
had been identified and whether these could potentially be incorporated into the construction
of an inclusive saree. The review corroborated the inadequate emphasis on inclusive clothing. A
wide gap was observed between the accessible clothing and contemporary design details
which, for this research, meant developing construction details, looking at garments beyond just
their basic shapes or ways of stitching, fits, elements and replacing the traditions of garment
making with contemporary ways of addressing fashionable clothing (Dlf.org.uk, 2019).
Results from Phase one highlighted the need to improve the availability of well-fitted,
fashionable and culturally relevant clothing to accommodate a group of consumers who have
been ignored as potential clients by the clothing industry to date. Involving the participants in
the development process of the garments emerged as the method of choice.

20

3.4 PHASE TWO
CONTEXTUAL INQUIRY
Incorporating an ethnographic method, interviews were performed to gain
in-depth knowledge of the views and needs of the participants of the study.

As a first step, the questionnaire method was utilized. A consolidated
questionnaire was prepared which comprised of open-ended, generic questions to gain
some fundamental insights to the needs and desires of the participants. It was formatted
as a coloured layout to make it attractive, hoping that it may catch the attention of the
expected respondents, thereby resulting in a higher rate of response. A black and white
version was also prepared for persons with colour or partial blindness. Simultaneously,
there was an online version created for Survey Monkey. This version provided read
aloud options as well. These alternatives were provided to enhance the reach and ease of
responding. The questionnaire was then posted on the social media platforms of both the
NGOs. Printed copies of the questionnaires were also placed in the lunchrooms,
receptions and activity rooms of the two NGOs. A total of twenty-one questionnaires
were received, some of which were partially filled. The returned questionnaires were
further used to reach out to the participants for in-depth interviews.
In-depth need assessment was conducted using semi-structured interviews to
gather focused qualitative data about apparel-related barriers faced by the participants
in their daily life, their expectations and aspirations about clothes and how
contemporary design is perceived by them. Needs assessment research is the process of
finding, assessing and responding to the gaps in the existing situations and desires. For
the present need assessment, the participants were asked about the criteria for selecting
their clothes, what challenges they face in dressing and if they would be interested in
adaptations of clothing that would assist them in their routine. If so, what features they
would be interested in to improve their dressing/donning routine?

(i) Trying and testing various readily available
fasteners

(ii) Post-it map of the challenges faced and
needs of the participants

Figure 2: In-depth need assessment and analysis

21

As the non-governmental organizations were being contacted to reach out to
the participants, the researcher came across some professionals in the field of
disability. Key insights about the disability sector were also gathered from them
through informal interviews.

3.5 P HASE THREE
PROTOTYPING AND PARTICIPANT TESTING
Based on the learnings gained in the preceding phases, Phase three focussed
on designing and developing of possible solutions for the identified
clothing-related barriers and user testing.

The question then arose of how to address the clothing-related barriers
commonly faced by the participants. Experts in the disability sector have successfully
argued for using the social model to address barriers, instead of using the previously
followed medical model of disability. The medical model considers disability and
impairment to be a barrier or problem with the person and tries to fix the disability.
On the other hand, the social model emphasizes that persons with disabilities face
barriers not because of their impairment, but because their needs are not taken into
consideration while designing and developing products. It examines ways of
removing barriers that restrict their choices (Finkelstein, 1980, Francis & Silvers,
2000, Oliver, 1990). If we change our design practices in such a way that persons
with disabilities can also have equal access, then their participation and choice and
control over their own lives will enhance, irrespective of their disabilities.
Designs should be responsive to the needs and desires of persons with
disabilities as everyone merits to be comfortable in the world without any barriers to
their equal participation (Oliver, 1990, Goering, 2015). Furthermore, Dilnot (2009)
opines that design should not be limited to the narrow view of ‘creating something
artificial’, but be guided by the underlying principles of ‘possibilities that design holds’
and that “ethics is internal to design”. According to Dilnot, the purpose of designing
should be for universal benefit, while upholding ethnicity and ethics in design.
Researcher Lamb (2001) also questioned the widely held thought that getting
dressed and undressed is a problem for persons with disabilities, simply due to their
unique abilities. According to Lamb, the way apparel is designed is equally responsible
for the barriers they face. It is opined that disability should be studied as a social
construct rather than a medical condition for an individual and the emphasis should
be on addressing the external barriers that cause inaccessibility.

22

The social model used by Lamb (2001) states that the participants of research hold a
lot of significance and helped develop the conceptual framework for the construction
of prototypes for different contexts within this research.

3.5.1 Ideation
Shearer’s Design Thinking Framework (2015) was used to generate potential and
beneficial solutions envisaged for the project by asking “what if…?” questions at five
different moments of design process experiences. These ‘what if’ questions offered
opportunities to create different kinds of generative propositions until the designer
reached a satisfactory design by following a constructivist approach which involved
the development of knowledge by exchange and adaptations of experiences of the
participants.
The process of ideation encompassed three stages :
(i) The first stage was inspiration. It involved an understanding of the basics
parts of a saree and the entire draping process. Ideas evolved and continued to
generate solutions as to how to ease the donning and doffing of saree, and
whether some parts of the saree could be pre-stitched in order to achieve this.
(ii) The second stage was brainstorming. This involved sketching numerous
ideas and self-draping exercises to examine possible places of adaptations and
amendments to the traditional saree.
(iii) The final stage was implementation including the development of prestitched saree options alongside devising fasteners to reduce the time and
effort spent on draping the saree.
Following the framework of Shearer, there was an opportunity to arrive at
solutions by following two avenues of design thinking. Firstly an intensive reframing of the problem in order to bring a change, by proposing a set of assumptions
to work out design proposals. Secondly, a phase to develop an understanding of the
proposed assumptions by absorption and adaptability. Eight to ten design options were
thus created during this process. Next, a series of design sketches and prototypes were
created in the following phase to accommodate the suggestions offered by the
participants to enhance the comfort of dressing and undressing in parallel with also
their desired aesthetic qualities.

23

3.5.2 Prototyping
Informed by the principles of universal design (Connell, et al, 1997) the following
inclusive design principles served as the basis to design the prototypes:

(i) Equitable use, viz. the products are designed taking into consideration the
vast variety of needs and to avoid injustice against users.
(ii) Flexibility in use, viz. the products are designed taking individualistic desires
into consideration while accommodating a wide range to suit multiple abilities.
(iii) Simple and intuitive in use, viz. the users are able to easily apprehend the
use of the products.
(iv) Perceptible information, viz. the designs are self-explanatory and
communicate well with the users.
(v) Tolerance for error, viz. the designs eliminate possible complexities and have
the capability to curtail accidental risks.
(vi) Low physical effort, viz. the products are comfortable to use and do not
cause any exhaustion and exertion.
(vii) Size and space for approach and use, viz. the products allow enough space
for mobility, reaching, bending; are flexible and adjustable; and help support
users’ needs and body sizes. For example, in case of garments, its parts, such as
the fasteners should be easy to reach and grasp.

After generation of ideas began the process of developing prototypes. Quick
prototyping methodology was used to develop the study prototypes. This is a lowfidelity method of developing usable/wearable physical prototypes which could be tried
out by the participants for easy evaluation and critique to follow an iterative loop of
construction and feedback. This method also provides additional options for easy
customization and to reduces uncertainty. Quick prototyping was undertaken by
developing creative toolkits, try-ons, fasteners, closures, and constructing garments to
meet the mobility needs and to enhance the ease of dressing.

24

Figure 3: (i) Saree with stitched palla
Figure 4: (i) Saree with stitched front pleats
(ii) Visual aesthetics of a pre-stitched saree
(ii) Visual aesthetics of a pre-stitched saree

Delving deeper into the prototype development led to the realization that
preparing an adaptive saree was complex. It was of meaningful significance when
considering the length of fabric, complications in drapes, the layers of fabric to be
wrapped around the body and the step of pleating. In order to reduce the complications
and to simplify the wrapping of the garment fabric around the body different
combinations of pre-stitching of the layers of the saree were created to investigate the
outcomes. In each of these, some parts of the drape were pre-stitched. The initial
prototypes were designed primarily by stitching several parts of the saree in a skirt like
manner to test their effects on the reduction of the complex draping process. The
unanswered question then remained about how the ends of the skirt (referred to as saree
skirt in further text) could be held together, alongside the issue of waist adjustment, and
whether it would be feasible to use fasteners to reduce the action of tucking the pleats in
an underskirt.

Figure 5: Belted skirt-style saree

One of the tested options was to stitch the pleats tucked into a belt at the top. The
belt opened up on the side using dungaree buckle. The saree could be worn like a skirt,
pulling up from the bottom over the knees, pulled to the waist and buckled together. The
palla which is the loose end of the saree could be worn over the shoulder.

25

Figure 6: Wrap-around style saree with side overlap

Another tested option was to pre-stitch the saree like a wrap-around skirt with
side overlaps. A woman could easily hold the two ends of the overlaps, bring them
together on a side and interlock them with the integral use of fasteners. The fasteners
were stitched onto the garment for closure of the belt or the overlaps. With these
adaptations, the need to wrap the garment around the body and tucking in of the pleats
were avoided. This significantly enhanced the ease of donning and doffing of a saree.
In all, four prototypes were developed. These inclusive alternatives, generated
using quick sewing construction and development methods with minimal resources,
would be cost-effective solutions and easy to develop. A variety of fasteners were
procured to be considered in these prototypes. Magnets, dungaree buckles, interlocking
buckles, bent clip and ring, and eyelet and buckle were some of the fasteners used in
different prototypes.

3.5.3 Concept Testing: Focussed Wear Test
The prototypes were tested by the selected sample group.

Wear tests involved having the participants trying on the garments to assess
their response to the clothing problems as highlighted in the interviews conducted in
the earlier phase. This related the prototype directly back to the participants’ needs
and preferences, while also highlighting the scope of recommended changes in the
prototypes to enhance their responsiveness.

26

(i) Bring first panel of saree to the
front

(ii) Overlap second panel
and fasten the eyelet-buckle

(ii) Wind the loose end of saree
around the body

Figure 7: Wear-test of a front overlap saree

In addition to the focussed wear test intended to investigate the responsiveness
to the clothing and related barriers mentioned by the participants in the interviews,
participant observation studies were simultaneously conducted. Observations were
noted of the participants while they engaged with the new saree by being a part of
the group. The purpose was to gain insights regarding the ease of wearability of the
prototypes, while the participants wore the prototypes and performed a few specific
directed activities like getting in and out of the garment, stretching and bending of
body-parts, reaching out for objects, manoeuvring around using their assistive
devices, if any, etc. The participants’ feedback on the same was also sought. Some of
the observations from the wear test revealed that the size and placement of the
fasteners was of crucial significance. The smaller fasteners were difficult to operate
whilest the larger ones were excessively visible, and that winding the extra fabric for
palla around the body was troublesome for some women. It was also noticed that the
front overlap and the belt style saree were easy to put on. The stitching of palla was
observed to be more convenient because of the reduced action of pleating.

(i) Wear saree over the head and
bring it down the torso

(ii) Bring it down to the waist
and fasten the dungaree-buckle

Figure 8: Wear-test of a stitched belt saree

27

(ii) Wind the loose end of saree
around the body

The focussed wear test by the participants validated the design explorations
completed to date. These drew out both the potential iterations and changes to be
incorporated. For example, the prototypes were developed using lightweight fabric,
devoid of culturally popular intricate embroidery and so on, to ensure ease of
wearing. In response to this, one of the common queries from the participants was
about the ornamentation of the sarees – if embroidery and intricate borders could be
possible, without adding a lot to the weight of the garment. Other crucial feedback
was that the fasteners used in the garments must be revisited since those used in the
prototypes were complicated to handle.

3.5.4 Prototyping of Fasteners
The focused wear test revealed that some of the fasteners, although procured
after thorough market research did not provide the most apt solutions. It was
particularly difficult for women with certain conditions of muscular dysfunctions
to handle the fasteners that required more dexterity and fine motor coordination.
Though disheartening at that point of time, and in hindsight, this gave rise to further
explorations on how some readily available fasteners could be modified or made
more appropriate for persons with disabilities.

Figure 9: Fasteners getting printed
on a 3D printer

This led to an addition in the research process. Some viable options of fasteners
were explored that could be used by women with limited movements in their hands
and fingers. The most meaningful considerations throughout the research’s creative
and responsive development were the size of the fasteners and their placement on
the garment for the comfort of use. The fasteners were envisioned to be attached to a
semi/pre-stitched saree and to be tested by the participants of the research for their
feedback and recommendations in a co-creation workshop.

28

Figure 10: (i) 3D rendering of the slider

(ii) 3D printed fasteners

The technology of 3D drawing and printing was employed to develop feasible
fasteners keeping in mind the participants movement limitations and to enhance their
agency with these newly designed fasteners. The profiles of the fasteners were drawn
using the Adobe Illustrator software which were next translated into 3D form with
Rhinoceros (3D rendering) software. This software allowed to move around the
fastener designs in perspective view, i.e. viewing the fasteners from a three planar
view, which aided in viewing the rendered fasteners from all angles. This allowed for
appropriate review of the designs of the fasteners, make required changes, and get
images of the final outputs prior to printing the fasteners in a hassle-free and quick
manner. Rapid prototypes of fasteners were then 3D printed and their usability tested.

FASTENER PROTOTYPE SPECIFICS
SPIRAL

Figure 11: The Spiral fastener

The Spiral is a bent structure. It was developed for use in the saree prototypes
in which the pleats were not stitched. This spiral could be wound around the palla
fabric to form a ‘gathered palla’ without having to do the action of folding and
pleating at the shoulder.

29

BENT CLIP + RING

Figure 12: The Bent clip + ring fastener

The shape of a paper clip inspired the clip in this fastener. It was bent to an
angle so that it could stick out of the fabric layer it is stitched upon, to allow room for
the ring, attached to the other part of the saree skirt, to pass through.

BLOCK CLASP

Figure 13: The Block clasp fastener

This fastener was developed as a small block with a U-shaped ring. It was
attached to the overlapping part of the saree skirt, to be clasped onto a small tube-like
structure attached to the underlapping part of the saree skirt.

30

SQUEEZE AND FIT

Figure 14: (i) The Squeeze and fit fastener

(ii) The arrow-style Squeeze and fit fastener

A fastener was created with two open edges which could be pinched together to
pass through a small tube-like structure. This brought together the two sides of a
saree skirt, based on the squeezing to pass through technique. An arrow-shaped
fastener was also developed, the two ends of which could be pinched together and
passed through a ring.
Another thought that emerged while working on the fasteners was that in the
current form of the prototypes, it was necessary for the participants to use fasteners,
which had a very reductionist approach. Since, there was no other workable
alternative so far, which was as effective, it set the researcher to explore if the
fasteners could possibly be embellished or made ornate, such that the participants
could celebrate the use of these fasteners in their garments. As a result, along with
enhancing the functionality of the saree, the fasteners would also add to its visual
aesthetics, thus realizing the purpose of the present research.

3.5.5 CO-CREATION WORKSHOP
An arts-informed applied qualitative method was utilized to co-create the
prototypes with the participants. The insights generated through focused-wear tests,
such as the need for aesthetics in clothing, specifics of previously used closures, any
unmet needs were drawn upon to develop personalized, inclusive clothing prototypes
for four to five women from the identified sample.
The prototypes were co-created with the participants in order to address their
unmet needs, based on their expert knowledge of their capabilities and limitations and
the unique ways they have developed to cope with their disabilities with personal
knowledge about their conditions that no books or desk research could provide. Not
only did their insights deepen the researcher’s understanding about the requirement

31

of inclusive clothing, but they also brought forth new ideas and constructive criticism
of the work done so far, which enriched the process of garment creation. Hence, the
participants’ experiential expertise of their conditions was combined with the
researcher’s garment knowledge and construction skills to co-create possible design
solutions.

Figure
15: Wrap-style
saree
withfront
front overlap
A wrap-skirt style
saree
was created
with
overlap considering the fact that
the front of the garment was easier to reach. This saree could also be worn with ease by
wheelchair users. The base of the saree would be spread on the wheelchair, then the
participant would sit on this base, each side of the saree then brought in the front and
interlocked with the fastener. After this, the palla is supposed to be wound around the
body.

To further enhance the ease of wearing, a prototype was developed which, along
with the pre-stitched pleats, had a palla pre-stitched into the belt. Thus the wearer,
instead of winding the palla around, could simply take it from the side and drop it on
the shoulder.

Figure 16: Handkerchief skirt with pleats + blouse with stitched palla

32

Figure 17: Belted skirt-style saree

Another tested option was the saree with pleats and the skirt stitched in a belt
which opened up on the side. The saree could be worn like a skirt, sliding down the
body over the head, brought down to the waist and put together. The palla could be
worn over the shoulder.

A few fasteners were co-created with the participants.

SLIDER

Figure 18: The Slider fastener

This fastener was developed as a long hollow U-shaped pipe which was to
slide on the long tube. This fastener also provided the scope for some adjustment of
the garment at the waist, depending upon how far could the U-shaped pipe slide into
the long tube at the other end.

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PEGS + HOLES

Figure 19: The Pegs + holes fastener

This fastener was inspired by the back closing of a cap. The base had some
‘standing peg’ like structures. This base was to be attached to the underlapping part of
the saree skirt. A silicon strap with holes was to be overlapped onto the pegs. This
strap was to be stitched to the overlapping part of the saree skirt. Since silicon is
stretchable in nature, it provided a range for some adjustments at the waist.
These fasteners were then attached to the saree for a wear-test by the
participants of the research to get their feedback and suggestions on their use.

EXTRA: PLEAT CLIP

Figure 20: The Pleat clip

The Pleat clip was an additional tool, to be used in prototypes in which pleats
were not pre-stitched. This clip, with tooth-like structure allowed space to fit folds of
fabric between two teeth, a collection of which helped in easy forming of pleats.

34

The prototypes thus developed were
high on functionality and responded to the
specific needs of the participants to
improve the ease of dressing and
undressing whilst promoting their sense of
dignity and independence. To fit to a
greater range of disabilities, some base
modifications were adjusted to the
garment, with additional options that
remained an individual choice, such as the
type of fasteners used, the stitching of palla,
the type and range of disability dependant.
After trying these fasteners, the
participants shared that their anxieties
related to clothes and the emotional stress
of dressing and undressing were reduced.
They expressed that the use of these
fasteners would enable them to enjoy the
experience of dressing instead of agonizing
over it. Additionally, participant
involvement as active contributors in the
design development and prototyping
process ignited confidence and sense of
agency in them.
In addition, following the principles
of participatory design yielded constant
validity to the developed prototypes and
confirmed their suitability and utility,
particularly throughout the process of
designing and developing user-centric
garments.

35

3.5.6 CONCEPT TESTING: WEAR TEST
Following the insights gained from the previous wear test and the co-creation
workshop, the prototypes developed were tried on by the selected sample group. Wear
testing involved having the participants try on the garments. This related the prototype
directly back to the user needs and preferences, and helped to determine whether each
woman’s specifications were satisfied by the prototypes that they wore. Some
experiments of observation trails of the garment were performed. The participants were
expected to wear the garment for longer periods of time and to perform their usual
daily activities in their typical settings, to see how their movements affect the use of the
garment and analyze how well the garment worked out for complete use, following the
grounds of naturalistic observation trials.

36

04

DATA COLLECTION
&A NALYSIS

4.1 NEED ASSESSMENT
A deep understanding was gained about the disabilities covered in the scope of
this project, and resulting challenges, from interviewing the participants and experts
in the field. Discussion with the Executive Director of Samarthyam, who herself is a
woman with disability, was a very enriching experience. She is a person who faces
the challenges that come with the disability. This, coupled with her technical
knowledge and ability to enhance accessibility gave the researcher substantial
insights from her personal, professional and technical perspectives.

4.1.1 Challenges Faced by Women with
Physical Disabilities
The qualitative data shows that within one type of disability itself (physical
disability in case of the present study), there was a huge diversity in the challenges
faced by the women. For instance, women with cerebral palsy mentioned that their
major challenges included loss of control on their muscles; muscle stiffness; poor
coordination and reflexes; imbalanced posture; shaky movements and dependance on
mobility devices in moderate range, among others. The challenges faced by women
with reduced dexterity included lessened coordination of fingers; difficulty in
bending fingers; difficulty in handling small things; loss of grip; and reduced
sensations. Women with arm amputations noted that they find it difficult to reach far
parts of their bodies; reaching for and holding things; and had more variations in
body measurements. Women with amputated legs depended on mobility device and
had wider-ranging disproportionate body movements. Analysis of the results showed
that major problem areas for the participants were limited muscular movements,
bending of fingers, bending and reaching ends of the body, variations in body
measurements and limited mobility, which was considered while designing and
developing the prototypes. This variation in the challenges faced by women with
physical disabilities reveals that there can not be a ‘one-size-fits-all’ solution that
will respond to these diverse needs.

4.1.2 Criteria for Selection of Clothing
Comfort and fit are the foremost considerations for choosing a garment due to
the importance of the functionality of the garment. If a garment does not meet this
requirement, it defies the fundamental purpose of any garment. Nonetheless, design
details such as patterns, textures, and visual aesthetics of a garment are also significant
and decisive factors in clothing choices. Data from the present study corroborates this
in case of women with disabilities. They exhibited a preference for patterns,
ornamentations and colour to be emphasized in the garments developed for them. The
weight of the fabric also affects the use, donning and doffing of a saree. For women
with physical disabilities, lightweight fabric is one of the important factors considered
in the selection of clothing, so that the garment could be managed easily.

39

4.1.3 Suitability of Ready-to-Wear Clothing
Data from the present research tells that quite often, due to their differently
proportioned body sizes, women with physical disabilities face difficulty in finding
ready-to-wear garments that fit them well. Contemporary clothing picked up by the
participants at stores often required them to replace the fasteners used in the
garments. One participant said:

"I have problems with zippers and sometimes buttons. I usually buy
clothes that either don’t have zippers or buttons or they aren’t

required to be used. I find elastics, velcro, snap buttons and hooks
easier. But using velcros or snap buttons makes me feel like I am
dressing like a child and also reduces the quality of my garments.
Sometimes the elastics used are also not suitable and hurt on the
waist since I am in a sitting position throughout the day. Only the

"

thick broad elastics, like those used in sportswear are comfortable.

Clothing had to be often altered to make it fit. Some women got their clothes
modified or altered with the help of their friends and family, others regularly spent
money on getting each clothing item altered. Some of them spent huge sums on
getting garments stitched according to their preferences.

"My friend usually does alterations, so it doesn’t cost me anything.

But I have to depend on her each time. She usually has to hem my
pants and adjust sleeves and/or necklines. You know, I sit in a
wheelchair. Even if the neckline of a garment is a little low, I am
exposed to anybody who is standing near me. So, I have to get the

"

necklines of my clothes modified.

"I get my garments for special occasions stitched by using industry

designed clothing as samples. They are made specifically according
to my requirements. It involves a lot of effort and sometimes even

"

a lot of money.

It was also noticed that in spite of their keenness to wear garments that speak
to their style, the participants were usually unable to use ready-to-wear garments
that appeal to them since they are unsuitable for a variety of reasons:

40

" Yes, there are gaps, stuff rarely fits me due to my disproportionate size,
hence it is very difficult to find suitable clothing. For example, I'd love
to wear long dresses, but they are not designed for someone sitting on

"

a wheelchair, they are too long.

" When I head out to buy jackets, either they are heavy or fluffy."
" I go for outings every other weekend but it’s hard to find dresses that
fit me well.
"
Most of the women stated that they often went out to attend occasions, events,
gatherings and outings. Some of them reported heading out two to three times a
week. However, they felt a huge void in terms of well-designed clothing, which is
funactional as well. This compelled most of the women to choose garments largely
from the specially-designed clothing only. While some others did chose to buy
clothing off the rack, a number of women had to make them usable.
From the research it was noted that women had a keen interest in wearing
the saree, this being the common customary dress. They expressed the desire to wear
it, especially during occasions. To do so, some of them depended on others or did
difficult actions. It was also mentioned that when participating in cultural functions,
because of their dressing styles and inability to wear a saree, they sometimes either
feel left out, or incapable. Sometimes they even avoid visiting such gatherings due to
the lack of suitable clothing.

"Due to the cultural implications,
I have worn saree a couple of

times. I live with my husband
and do not have any other
member in the house who could
help me in wearing a saree. I
had to wear the saree myself. I
laid the saree on my bed and
rolled my way into it. It was a
very tedious task and also did
not do justice to its elegance
because the drape was a little

"

shabby.

41

" I'd love to wear a saree but it's difficult to drape and carry the meters

of fabric while sitting. I want to dress to feel and look good. Although I
love sarees, I know I won't do justice to it so I don't try to wear it. I
wear long tight dresses with a blouse. Even long dupatta is hard to

"

manage.

" I think sarees are pretty but not very practical for persons with
disabilities. They are difficult to get on and off. I don’t think I could

"

wear a saree.

Gathering data from the sample group provided a deep understanding of the
clothing needs—functional and aesthetic of this target group. Information from this was
used to develop products that would prove successful in enhancing their ability and, in
turn, improving their sense of well-being. For the identified sample, self-efficacy
seemed to have a substantial impact on their clothing choices. The most profound
learning was that barriers faced by persons with disabilities were not so much because
of their impairments, but because of the way we design garments things and spaces.

4.2 W EAR TEST
The idea of an adaptive saree led to a lot of excitement in the target group,
especially because of its cultural implications. They showed keen interest in the idea
of an inclusive saree and were enthused that they would be able to wear the
garment with ease and enjoy its elegance. There was a lot of positive energy while
trying the prototypes. The sarees were easy to drape due to the stitched pleats and
palla. Women did not have to bother to maintain it in its position for a long time
during the process of wearing. Hence, the entire process of putting on the saree only
took a couple of minutes.
For the subsequent co-creation workshop, some fasteners like magnets, coat
loop/hooks and dungaree buckles were stitched onto the previously tested sarees.
Evidence from the wear test of the prototypes shows that some of the fasteners,
which were procured with an assumption that they would ease the closures of
overlaps, did not prove most effective. Due to the movements of the body the
magnets kept coming off. Because of its size and boldness, the dungaree buckle stuck
out and was very striking. This use of standard fasteners helped gather a lot of

42

insights on feasible options from the commercially available fasteners; as well as
modification of fasteners required for easier use. The experience inspired the
development of a set of new fasteners and construction details that would benefit
the use of the developed garment.

Figure 21: Fastening the saree belt using the butterfly clip

In the final wear test, the sarees with front
overlap and saree skirt with belt which could be
worn from over the head received a very positive
response. These options did not necessitate the use
of an underskirt anymore. Among the developed
fasteners the Bent clip + ring, the Slider and the
Pegs + holes received the most positive feedback.
Due to the size of the ring, shape of the clip, and
rigid material, the fastener did not require a lot of
bending of fingers and also provided great
support. The slider due to its length was
convenient for use and could also provide minor
waist adjustments. The prototype with pegs and
silicon, due to its elastic nature provided more
adjustability to the garment. Further, because of
their numbers, the holes and pegs could easily
grasp onto each other, thus enhancing the ease of
closing. Though the pleats of the palla were prestitched, there were huge benefits of the spiral
which could be used to form pleats by rotating, if
the palla wasn't pre-stitched.
These sarees gave the participants a feeling of empowerment with regard to
wearing a garment, which thus far, they generally were not able to wear at all or
depended on others to wear.

43

4.3 OUTCOMES
The process of this research was a continuous cycle of brainstorming, developing
prototypes, concept testing, followed by a prototyping workshop and another wear test,
not following a linear path. This research adhered to the criteria consistent with
fundamental principles of low energy and low material intensity, and high regenerative
potential and the guiding principles of enabling solutions and enabling people to live as
they like.
The outcomes gained would lead to purposeful change while attempting to shed
old paradigms of adaptive clothing being limited only to ease of functionality, and rather
enhance the individual treatment of people with disabilities with respect and
admiration. The results of this study informed the development of aesthetically designed
accessible garments with focus on functionality and inclusivity. The garments designed
with a cultural connection, celebrated the heritage of fashion and design in India. At the
same time, they promoted a sense of well-being and dignity in women with disabilities
by eliminating the problems they faced in wearing sarees. Most importantly, the garment
prototypes developed in this project directly benefited most of the participants.
The research whilst being an advocate for inclusivity in society, underscores the
fact that things and spaces should be designed following a human-centric approach
opposed to just being design-centric. This entails paying primary attention to people and
being responsive to the emotions they experience while using the product instead of the
fixing the spotlight on the features of the products.
Personal outcomes include improved knowledge of disabilities, attitudes of people
with disabilities and the society surrounding them. The research also strengthened the
abilities to analyze, think creatively, and an inclination towards user-centric inclusive
design practice.

44

05

F UTURE D IRECTION

05

F UTURE D IRECTION

Considering that this study is limited to a small sample of adult women with
physical disabilities, the propositions cannot be generalized. Further research with a
broader range of participants of different disabilities and a larger sample would
increase the outcome of making the concept of functional and contemporary
clothing better suited for a larger array of population. Looking to expand the
current outcomes and realizations in this project, future research could continue to
employ organic models of design that engage diverse perspectives with the purpose
of building bridges across differences -- age, gender and disabilities -- thus making
them available to larger groups and reducing the societal fragmentations due to the
manner in which products are designed.
The principle contribution for the design field is that the progressive
realization of inclusive design is not beyond reality, and contrary to common belief,
does not entail exorbitant cost implications either. Transforming design practices as
rights-based decision and not as charity is critical to enable persons with disabilities
to become an integral part of the society.
It would be also useful to expand this study for a deeper understanding of
aesthetic aspects such as colour, design details and fabric feel as well as functional
aspects such as fabric comfort and garment silhouette.
Further investigation may be necessary to probe the possibility of making
contemporary functional clothing available at scale.

48

06
C ONCLUSION

Clothing is a significant need for all humans. It is
a form of protection, a provision of comfort, a means of
self-expression, adornment and enhances self-esteem
and confidence. For persons with disabilities clothing
requirements are compounded due to their diverse
needs.
The research Inclusive Design for Regaining
Lost Identity conversely revealed that existent design
practices are not responsive to diversity. The available
clothing choices for persons with disabilities currently
do not intuitively provide for the above-mentioned
psycho-social, emotive and expressive qualities of
apparel. Largely, they do not receive due attention as
potential customers. The way clothing is designed
offers them very limited buying options, which
contributes to their exclusion. Clothes, if at all
developed specifically for persons with disabilities,
may meet their functional needs yet are rarely
designed with consideration to visual and cultural
aesthetics. Yet in a nascent stage, there are nominal
exemplary pieces of work that focus on design-led
contemporary functional clothing.
It is critical to enable persons with disabilities
and to renounce the existing prejudicial exclusionary
practices and any beliefs of incompetence to become
an integral part of the society and all aspects of it,
including clothing. This necessitates acknowledging the
differences in people and their discrete specificities and
to respond to them with a broader horizon. It is
important to promote their pride and ownership in
their disability status. To actualize this, and impress
upon the society and the persons with disabilities that
what they wear matters, the process of design should
be based on the analysis of specific and distinct user
needs and desires, focusing less on their differences
and inabilities and more on responding to their unique
needs such that all access is equal.

51

The incredible stories and experiences shared by the participants in this
research highlighted the fact that persons with disabilities wanted to feel, dress and
look how they wanted to look by wearing what they wanted to wear. Clothing
should be about self-expression – reflecting their moods, taste and style and not
limited to fulfilling merely their functional needs. The prototypes developed in this
research demonstrate that aesthetically designed inclusive clothing for women with
disabilities increased their personal agency and control on donning and doffing,
encouraged them to take greater responsibility of their own lives and empowered
them to assert their choices. The newfound empowerment symbolizes and helps
promote positive life experiences. The developed saree choices within this research
can have a powerful impact on the satisfaction in the lives of women with disabilities,
fostering an immense feeling of independence and belonging rather than
experiencing a wall of inferiority.
A constant involvement of participants in all stages of the design process so
they can benefit from it and be the agency of inclusion. The feedback elicited from the
participants during the wear tests revealed that these sarees are a step in the direction
of addressing some of the critical issues in empowering women with disabilities
towards autonomous living. Inclusive designs strive to fundamentally evolve
products beyond their conventional definitions, by changing the defining standards
for products, such that barriers do not exist in the first place.
Inclusive design practices that accept and respond to diversity promote
inclusion of all. If adequate attention is paid to adopt inclusive design practices and
the principles of equity that respond to the aspirations of persons with disabilities and
respective needs to dress in a contemporary aesthetic, it can foster the assertion of
their self, leading to their empowerment. An overarching positive outgrowth from the
research could be the concept of inclusive design that is applied in all fields of design
and design research to enhance its social sustainability by encouraging full
participation and improved user satisfaction, thereby benefitting a much broader
range of people and hence being inclusive. Such inclusive designs will not begin with
predetermined notions of ‘endpoints and success criteria of designs’, but will aim at
flexibility and innovation in design processes to enhance usability and
responsiveness.
What the research hopes for in the long-term are communities where people
are not isolated and segregated; where everybody belongs and has a voice. Such
social systems would be designed to respect and include diversity and human
variability, and for people with the full range of human differences to participate and
contribute to their fullest.

52

"To tell you the truth, engaging
with you in the development
of these sarees has struck
great optimism in me. It has
raised hopes in me about what
all can be possible. It has
triggered a sense of being
comfortable with my body,

"

which was not the case so far.

07

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60

08
APPENDICIES

L IST OF FIGURES
Figure 01

Step-to-step on how to drape an unstitched, unaltered, traditional
saree

Figure 02

In-depth need assessment and analysis

Figure 03

Saree with stitched palla and its visual aesthetics

Figure 04

Saree with stitched pleats and its visual aesthetics

Figure 05

Belted skirt-style saree

Figure 06

Wrap-around style saree with side overlap

Figure 07

Wear-test of a front overlap saree

Figure 08

Wear-test of a stitched belt saree

Figure 09

Fasteners getting printed on a 3D printer

Figure 10

3D rendering of the slider and 3D printed fasteners

Figure 11

The Spiral fastener

Figure 12

The Bent clip + ring fastener

Figure 13

The Block clasp fastener

Figure 14

The Squeeze and fit fastener

Figure 15

Wrap-style saree with front overlap

Figure 16

Handkerchief skirt with pleats + blouse with stitched palla

Figure 17

Belted skirt-style saree

Figure 18

The Slider fastener

Figure 19

The Pegs+holes fastener

Figure 20

The Pleat clip

Figure 21

Fastening the saree belt using the butterfly clip

"The disability is not the problem, the
accessibility is the problem
"

(Mohamed jemni : TED 2013)

Sukriti Tandon, 2019