Professional Image

In the 1970s, women entered the workforce, and particularly management positions, in extraordinary numbers (Damhorst, Jondle, & Youngberg, 2004; Forsythe, 1993; Kaiser, 1997; Ogle & Damhorst, 1999). As women were adapting to these new roles there was some confusion as to the appropriate business attire required of women to project an image of professional credibility, power and effectiveness. Popular author, John T. Molloy (1977), began advising women how to Dress for Success. The information was well timed and the phrase “dress for success” became widely accepted (Forsythe). Molloy advised women to wear clothing that emulated the upper middle class, such as the best quality in neutral colours and fabrics made of fine natural fibers. In addition, he advised that women interested in management positions wear skirted suits in grey, black or navy with medium-heeled pumps and tailored blouses. He advised women to never dress like a trendsetter, wear anything sexy, imitate a man, or take the suit jacket off at work. Molloy indicated that a total conservative appearance should include hairstyle and cosmetics.

In Molloy’s (1996) second edition, he addressed business casual and the shifting attitudes concerning business dress. He suggested that businessmen had accepted the jacket as the female substitute for the male business suit. I Te observed that putting on a jacket instantly added to the wearer’s authority. The most effective suit could now include pants as well as a skirt. The most effective jacket was still the traditional single-breasted style with a traditional lapel in neutral mid tone colours. He continued to argue that being a fashion trendsetter is detrimental to a career. For middle management, Molloy said it was best to wear clothes, suits and jackets that look tailored and somewhat masculine and conservative.

Other popular authors have helped to shape women’s opinions concerning appropriate professional attire. These authors believe that women have been accepted in managerial roles and can express their individuality through fashion. Often these authors have a variety of conflicting recommendations (Forsythe, 1993; Ogle & Damhorst, 1999) and seldom provide research to support their recommendations (Forsythe, 1993). The degree of variety in recommendations ranges from conservative symbols of dress to a diverse array of fashion items (Ogle & Damhorst, 1999). Some popular authors recommend as appropriate for business, clothing items such as sarongs or wrap skirts, very short skirts, sleeveless garments and severely man tailored suits, while other popular authors cautioned against the same items. Ogle and Danihorsi also found conflicting advice in the popular press pertaining to midlevel positions. Some authors advised that women in midlevel positions should wear tailored conservative jackets while other authors suggested that women could be more fashionable.

Busy career women and many students are most likely to read popular articles rather than research articles to get their advice on business dress (Forsythe, 1993).

Popular articles are full of conflicting information that may not necessarily help women to enhance their careers or achieve power and control over their image (Forsythe, 1993; Ogle & Damhorst, 1999). Guy and Banim (2000) found that women want to achieve power and control over their image. This consists of using their clothing to create images that are consistent with their professional identity. How can power and control be achieved when most professional women have never read a research article on appearance management? Research has shown that clothing does have a considerable influence on hiring decisions and in communicating a professional image (Damhorst Ct al., 2004; Forsythe; Johnson & Roach-Higgins, 1987; Johnson, Schofield & Yurcbisin, 2002; Riggio & Throckmorton, 1988). By gathering research and developing a series of workshops to present this valuable information, women can become cognizant of accurate information that has a possibility to enhance their career and business success.

Purpose
The purpose of this project was to develop a series of four workshops that focused on the presentation of an image that will convey professional credibility, power and effectiveness for women in business positions.

Significance
In order to maximize potential for securing the best jobs in a very competitive market, it is important to understand how to project an image that conveys professional credibility power and effectiveness (Forsythe, 1993). Clothing is a powerful tool and one that can be easily manipulated (Forsythe, Drake & Cox, 1985; Johnson & Lennon, 1999; Kaiser, 1997). By utilizing research based advice on the most effective clothing to wear in a professional environment, women can enhance their power and potential for success ( Forsythe, 1987; Forsythe, 1993; Johnson & Lennon).

Objectives
There were four objectives for this study. The first objective was to examine the importance of image and to review the literature pertaining to “dressing for success.” The second objective was to utilize current literature regarding image, “dressing for success,” and art principles in order to develop a process that would enable women to develop a powerful working wardrobe. The third objective was to prepare materials to be used in a workshop to guide women in the process of developing a powerful credible and effective wardrobe. The final objective was to select and identify an evaluation instrument to assess the perceived effectiveness of the workshop materials.

Definition of Terms
For purposes of this project, the following terms are defined:

Appearance: The way all the elements such as body, clothing choices, accessories and grooming fit together to send a visual message (Kaiser, 1997).
Basic capsule: A small group of clothing coordinated in colour and shape with interchangeable parts Wal1ach, 1981).

Business casual: Work ensembles that incorporate tailored slacks, skirts and jackets not worn as suits (Marshall, Jackson, Stanley, Kefgen, & Touchie-Specht, 2004).
Clothing cues: The use of clothing as nonverbal communication to express a thought or attitude (Marshall et al., 2004).

Colour analysis: A system that determines which groups of colours are most flattering to an individual’s skin tone (Marshall et a]., 2004).
Colour palette: The actual groupings of the colours arranged by hue value and chroma that are most flattering to an individual (Jackson, 1985).

Conservative colour: Colour that is dark or middle in value (Darnhorst et al., 2004).

Classic neutral colour: Navy, gray, brown, black, beige and tan (Damhorst et al., 2004).

Credibility: The quality of inspiring belief through appearance (Forysthe, 1993; Kaiser, 1997).

Debt free budget: No debt beyond mortgage and car payment (Pemberton-Sikes, 2004).

Diagonal line: Leads the eye in a diagonal direction (Davis, 1996).

Dress for success: Apparel choices that lend power to the wearer (Marshall et al., 2004).

Dress codes: The use and combination of clothing cues to signify affiliation and belonging (Kaiser, 1997; Ogle & Damhorst, 1999).

Everyday casual: Casual clothes that may include jeans, t-shirt and shorts (Marshall et al, 2004).

Ectomorph: ‘I’he percentage of fat distribution on a body is very low; limbs arc long and narrow (Marshall et at., 2004).

Effectiveness: The characteristic of producing a result, which can be assigned on the basis of appearance (Kaiser, 1983).

Endomorph: The percentage of fat distribution on a body is high; the body appears soft and round (Marshall et al., 2004).

First impression: Information provided by a sender’s initial appearance (Kaiser, 1997).

Halo effect: Information provided by an initial meeting that results in positive or negative assignment of attributes following that first meeting (Marshall et al., 2004

Horizontal line: Leads the eye across in a horizontal direction (Davis, 1996).

Innovative dress: Clothes that are unusual or trendy, an individualistic appearance (Marshall et al., 2004).

Line: Line leads the eye in a direction (Davis, 1996).

Male business suit: Consists of a matched business jacket, slacks and a dress shirt and tie (Marshall et al., 2004).
Mesomorph: The percentage of fat on a body appears low and the muscle development is well defined (Marshall et al., 2004).

Potency: Measurement of achievements, skills, relational status or power (Damhorst, 1990), Power: The potential to influence behaviour of others (Johnson & Lennon, 1999).

Quality apparel: The attributes of each element of a garment helps to determine its quality, such as fabric, buttonholes, linings and finishing details. These elements will affect how the garment looks and how long it will last (Marshall et al., 2004).

Receiver: “The person who reads and interprets the (clothing) message” (Marshal et al., 2004, p. 108).

Sender: “The person who develops the (clothing) message” (Marshall et. al, 2004, p. 108).

Style Notebook: A personalized guide for each participant that incorporates their ideal colours and clothing styles, figure analysis, mix and match wardrobe capsule, wardrobe analysis and wardrobe plan.

Traditional business: Classic business wear, such as suits and blouses for women (Marshal et al., 2004).

Uniforms: Apparel selected by an employer to project consistency and professionalism (Marshall et al., 2004).

Vertical line: Leads the eyes up and down or in a vertical direction (Davis, 1996).

Wardrobe Analysis: Analyzing an existing wardrobe to determine what items are needed so that wardrobe planning can take place.

Assumption
The study was based upon the following assumptions that women would like to be perceived as powerful, credible and effective, and would like to maximize their potential by understanding the effects of appropriate business dress. It was further assumed that the appropriate business dress is generalizable across most professions.

Limitations
The most significant limitations of this study was investigating only one aspect of impression formation, clothing. An impression is formed using many cues, such as clothing, speech, grooming, hand gestures and aroma (Forysthe, 1993; Kaiser, 1997). In a work environment clothing cannot protect a person when the work is not well done. As a person becomes known the clothing often becomes less significant. The workshop was limited to four meetings so not all aspects of clothing and appearance were addressed.




CHAPTER 2
REVIEW OF LITERATURE
The purpose of this project was to develop a series of four workshops that focused on the presentation of an image that will convey professional credibility, power and effectiveness for women in business positions. The review of literature will cover 1) the importance of image, 2) art principles and elements related to achieving a professional appearance, and 3) wardrobe management.

Importance of Image
Appearance is the way all the elements, such as body, clothing choices, accessories and grooming, fit together to send a visual meaning (Kaiser, 1997). Visual meanings are often assigned to items of clothing. These visual meanings are called clothing cues. Clothing cues can communicate information about the sender to the receiver (Forsythe et al., 1985; Kaiser, 1997, 1983; Marshall et al, 2004). In this unconscious mental process, receivers make judgments about senders on the basis of their appearance. Researchers have determined that some of the visual information gathered from the sender could include assumptions about personality traits, physical and biological characteristics, social position, demographics, occupational roles and intentions and motives (Damhorst, 1990; Johnson et aL, 2002; Roach- Higgins & Eicher, 1992).

When people meet in business and social situations they look at each other and subconsciously form impressions about the other based upon the visual meanings of dress or clothing cues (Forsythe Ct al., 1985; Kaiser, 1997; Marshal, et al., 2004). The impressions that are assigned to the sender could be positive and facilitate further communication or, conversely, could be negative and halt any further communication (Kaiser; Roach-Higgins & Eicher, 1992). For example, during an interview situation when time is short, the impression becomes critical so that verbal communication can proceed (Kaiser; Marshall et al.).

People are attracted to others whom they perceive as resembling themselves (Kaiser, 1983, 1997; Reid, Lancuba & Morrow, 1997; Rucker, Taber & Harrison, 1981). Reid, Lancuba and Morrow observed that subjects dressed in an alternative style, likewise, rated a woman dressed in an alternative style higher on the attractiveness and likeability scale. During an interview or when working for a company that has a distinctive image, it may become important to adopt the visual meanings or clothing cues of that group in order to be perceived as belonging and as having the proficiencies needed to get ahead (Barnard, 2002; Kaiser, 1997; Workman, 1990).

First Impressions in an Interview Situation
“The term first impression refers to the initial judgments made about another person based upon observable characteristics and behaviours as well as inferences made about the person’s personality, behaviour, and characteristics” (Bums & Lennon, 1993, p. 9). Often the impression that is formed during a first meeting, such as an interview, will influence the way that the sender is perceived following the initial meeting (Turner- Bowker, 2001). After the first impression the receiver may assign a trait or a cluster of traits based upon the appearance of the sender or applicant (Kaiser, 1997). This halo effect can repeatedly credit the sender with positive or negative attributes long after the first meeting (Bchling, 1995; Kaiser; Marshall et al., 2004). The initial assignment of characteristics could influence subsequent expectations. Impression Management
With the purposeful use of clothing, one can stage their appearance to send a first impression of credibility, power and effectiveness (Johnson & Lennon, 1999; Rudd & Lennon, 1999). By understanding the messages that each item of clothing sends, a person could use this information to influence the assignment of characteristics (Kaiser, 1983; Marshall et al,, 2004). In a professional or interview situation, the assignment of positive characteristics such as an occupational role, intentions, motives, and power could influence the perception of the sender’s abilities.

Impression management could benefit women negotiating lifestyle changes such as moving from student to professional, changing careers or during advancement in an existing profession (Kaiser. 1997). The use of impression management strategies could assist the sender in creating an image of professional power and effectiveness (Kaiser; Turner-Bowker, 2001). Impression management can lead to dressing for success.

Dress for Success Women in the Workforce
As women were entering the workforce in record numbers in the I 970s (Damhorst et a!., 2004; Forsythe, 1993; Kaiser, 1997; Ogle & Damhorst, 1999) there was confusion as to what clothing would best convey professional credibility, power and effectiveness. The male business suit has been an accepted symbol of a successful businessman since the I 9th century (Damhorst & Reed, 1986; Kaiser; Ogle & Danthorst). Should a woman who wishes to be viewed as successful wear a suit imitating a man? “Dressing for success” strategies became critical as women were entering into formerly male dominated professions (Forsythe).

Masculinity of Dress
The perceived gender of an ensemble can influence the impression that is made. Research suggests that when women dress too masculine (e.g., wearing a tic), people will react negatively (Forsythe et al., 1985; Johnson, Crutsinger & Workman, 1994). However, when a woman dressed in a suit with a tailored blouse she is perceived as having masculine managerial traits such as leadership ability, competitiveness, desires responsibility, self-confidence, objectivity, aggressiveness, forcefulness and ambitiousness (Damhorst et al., 2004; Forsythe et al.; Forsythe, 1987, 1990). A woman dressed in a soft feminine dress is often perceived to possess feminine traits such as intuition, helpfulness, humanistic qualities, efficiency and sensitivity. Research studies indicate that it is best for women in management to error on the side of appearing too masculine than feminine, as masculine clothing does not appear to affect the ratings of feminine attributes (Damhorst, 1990; Damhorst et al.; Forsythe et al., Forsythe 1987).

Formality of Dress on the Job
In business and the secondary level of the teaching profession, formal female business attire seems to project a more powerful appearance (Kenner, Underwood & McClune, 2002; Kwon & Johnson-Hillary, 1998). The formal attire consisted of a dark skirt suit with a white blouse, the semi formal attire was a pair of pants with a plaid sports jacket, and informal attire was a blouse and pants. The suit jacket appears to be a key part of a business ensemble. It was found to impart expert and legitimate power (Ross & Barker, 2003; Temple & Loewen, 1993). In general, a more formal appearance for a woman was ranked with more powerful appearance attributes, such as authoritative, credible, competent, reliable, intelligent, trustworthy, willing to work hard, efficient, approachable, courteous, friendly, and business-like (Kenner et at.; Kwon & Johnson-Hillary, 2001).

Conservative Business Attire in an Interview Situation
In 1999 Ogle and Damhorst reviewed “Dress for Success” articles published in the popular press. They found the most recommended ensemble for interview attire was the tailored suit. Researchers found that wearing conservative business dress was the most advantageous for interviews and career advancement regardless of the occupation or the gender of the interviewer (Damhorst et al., 2004; Forsythe, 1990; Jenkins & Atkins, 1990). Damhorst and colleagues suggested that to enhance your image, conservative attire is best, even in a more casual work environment because “the job interview is a ritualistic situation in which the job applicant makes a symbolic performance” (Damhorst et al., p. 232).

Damhorst and colleagues studied interview attire in 1991 and 2002 (Damhorst & Fiore, 1999; Damhorst et al., 2004)). The results from the 2002 study indicated that the preferred suit styling had become more conservative since the 1991 study. The preferred suits in 1991 were coordinates, not necessarily from the same fabric, and many did not have collars and lapels. However, in the 2002 study they found that many of the preferred suits were more conservative than in 1991 with traditional collars and lapels and being constructed of the same fabric. Interestingly, the preferred 2002 ensembles included the less conservative pantsuit. The 2002 ensembles considered as most appropriate had less jewellery and slightly lower necklines. The skirt length of the suits remained conservative in both studies. Damhorst and colleagues (2004) concluded that a ‘projection of a sensible professional and business committed appearance seemed to be expected by the recruiters and employment interviewers” (p. 232).

Hair and Makeup
Jenkins and Atkins (1990) found that the least acceptable hairstyle in an interview situation was a punk look, followed by a short, curly style. The best hairstyle was a softly waved shoulder length style. Workman and Johnson (1991) found that a woman using a moderate amount of makeup was perceived as more attractive and feminine. In addition, they found that women who used too much makeup were perceived as having loose morals (Workman & Johnson).

Art Principles and Elements as Related to Dress for Success Color
In the 1 970s personal colour analysis was transformed into big business (Kaiser, 1997). Jackson (1985) developed a personal color analysis based upon each individual’s skin, eye and natural hair colouring. Each person was then categorized into a season, or colour palette. The seasons included: Autumn (warm, dark and muted), Winter (cool, dark and clear), Spring (warm, light and bright), and Summer (cool, light and muted). When an individual wears the colours of the season that are most harmonious, their complexion will be smoothed and clarified. Jackson indicated the colours selected incorrectly would accentuate facial flaws such as dark circles, blotches, and lines. Francis and Evans (1988) found that a model wearing an apricot or red blouse in her colour season was ranked higher than models not wearing colours in their colour palette.

In 1990, Jenkins and Atkins found the best perceived suit colour for an interview was navy. Damhorst and colleagues conducted two studies, 1999 and 2002, in which they looked at the most acceptable colours and styles of interview suits. Results from the 1999 study suggested that green and gold along with subdued neutrals were selected as more appropriate. In 2002, Damhorst and colleagues found that the best colours were more conservative: solid, dark and middle in value, along with classic neutrals such as black, grey, navy, brown and camel.

In their study investigating clothing colour and value on the effects of evaluations of female job applicants, Damhorst and Reed (1986) found male interviewers responded more positively to darker suit colors. Six photographs of female models (the models were Caucasian but varied in personal colouring and physical attractiveness), each wearing four different colored jackets, were rated by male and female respondents. The male interviewers rated female applicants in darker jackets higher in potency and sociability. Women interviewers applied more opposite characteristics than men to applicants in dark suits. The researchers concluded that women probably do not hold consistent expectations for women’s business dress. Research seems to indicate that for men “the dark suit is a deeply ingrained symbol of the male business executive” (Damhorst & Reed, p. 95). In addition, women who wish “to optimize all aspects of self presentation, choice of a dark colored suit may aid slightly in fostering a professional impression” (Damhorst & Reed, p. 96). Line and Design

The skillful use of line and design in clothing selection can assist women in developing a more ideal appearance. An ideal appearance can help people to experience more “reward power,” such as such as honor and personal approval from another (Johnson, Heglund & Schofield, 1999; Johnson & Lennon, 1999). An ideal appearance must conform to societal norms, such as coordinated clothing or youthful thin bodies in order to strengthen professional credibility power and effectiveness (Johnson & Lennon; Rudd & Lennon, 1999). In a professional environment, an ideal appearance “may be especially important for non mainstream groups such as young workers, ethnic minorities, women and obese individuals” (Johnson & Lennon, p. 5).

People are born with certain physical characteristics such as body build, body proportion, and face shape. The ideal physical characteristics arc influenced by culture and fashion (Marshall et al., 2004). The current European ideal body build is balanced, with a 3-2-3 proportion. Body types are categorized according to similarities in composition, for example, the percentage of fat to lean body mass as represented by endomorph, mesomorph and ectomorph. The vertically, well proportioned body can be divided into four equal parts: top of the head to underarm, underarm to the hip, hip to the knee, and the knee to the sole of the foot. With the use of this group of basic principles of line and design in clothing selection, one can create the illusion of a more ideal appearance.

Line creates visual impressions that can be used to create an ideal appearance. Line leads the eye and can define and create shape. Line will indicate direction, and, with skillful use, create an illusion (Davis, 1996; Marshall et al., 2004). The skillful use of line in clothing can conceal a flaw and emphasize a positive (Davis).

The illusions created by line are infinite in variety. The fundamental lines include vertical, horizontal, diagonal, zigzag and curved. Vertical lines generally add height and length to the body and will lead the eye up and down. Vertical lines can be created in clothing through the use of colour or silhouette. Vertical lines are good for those people who wish to appear taller (Davis, 1996; Marshall et al., 2004). A horizontal line leads the eye across the body, then adds width or breadth and can shorten the body. Some very tall and slender people use horizontal lines to look wider. Diagonal lines can create a shortening or lengthening effect. Diagonal lines can often be slimming if the slant is closer to the vertical, such as the shape of lapels on a business jacket (Marshall et al.). Zigzag lines (a series of connected diagonals) increase mass. Curved lines are soft and lead the eye; they usually will also increase mass.

Wardrobe Management
In order to present a daily image that will convey professional credibility, power and effectiveness, one must have the appropriate clothing. Through careful planning, a wardrobe that meets a person’s professional and budgetary needs can be achieved. Several key components must be analyzed in order to plan and develop a working wardrobe. The planning process to achieve a powerful “dress for success” wardrobe includes taking into consideration personal body characteristics, career goals, company dress code, budget and the existing wardrobe (Davis, 1996; Feldon, 2003; Marshall et a!., 2004; Pemberton-Sikes, 2004).

Career Goals
It is important to consider where one is positioned in a job life cycle when planning a “dress for success” wardrobe. Rucker, Anderson, and Kangas (1999) found employees who were near retirement or were satisfied with their positions were not interested in looking powerful, they were more concerned with comfort. For people that were younger or desired an advancement, “dress for success” became more important.

Dress Codes
During an interview or when working for a company that has a distinctive image, it may become important to adopt the visual meanings or clothing cues of that group, or dress code, in order to be perceived as belonging and as having the proficiencies needed to get ahead (Bernard, 2002; Kaiser,1997; Workman, 1990). Dress codes for business clothing can be divided into five categories: traditional business, business casual, everyday casual, uniforms and innovative dress (Marshall et al, 2004). Because the suit jacket appears to be the key part of an ensemble imparting expert and legitimate power (Ross & Barker, 2003; Temple & Loewen, 1993), it is important to incorporate the jacket into each category of dress code to create and maintain a powerful image.

For a traditional professional wardrobe the dress code incorporates traditional basic suit pieces, such as the jacket, skirt and pant in the same fabric, with formal styling. Business casual dress code is more informal than traditional business dress. A less tailored or formal jacket could be worn, and the pieces can mix and match in coordinating ensembles. Everyday casual company employees might wear jeans or even shorts. In order to appear serious about ones position, a jacket of more casual fabric and style could complete an ensemble. Innovative dress is embraced by companies that want their employees to project a unique image (Marshall Ct al., 2004). People in this case would wear an ensemble that was unique. Incorporating an innovative jacket would maintain a powerful image.

Budget
Through careful planning an effective and powerful wardrobe need not be expensive. First, it is important to discover actual clothing expenditures in the past year and compare them to what financial planners recommend (Pemberton-Sikes, 2004; Ramsey, 2003). Financial planners recommend in a debt free budget (beyond mortgage and car loans), a clothing budget equal to an average of 6% of household income divided among all family members per year. In addition, the allocation should be further divided into Fall and Spring shopping seasons.

In order to stretch a wardrobe dollar it is important to consider quality versus quantity, stay within the preferred colour palette and only buy clothing that is flattering to the figure. By following these guidelines costly errors can be reduced. When key pieces in a wardrobe, such as a basic suit in a neutral color, need to be purchased it is important to look at quality. The basic suit pieces should be of high quality so that they can last for a long time and be used as a building block for future purchases (Feldon, 2003; Marshall et al., 2004; Pemberton-Sikes, 2004).

When the best quality clothing is purchased, the item will last longer than a similar item of poorer quality. The price per wearing becomes very low (Marshall Ct aL, 2004). For example, a pair of $100 pants that is worn twice a week for a year will have a cost per wearing of $0.96.

Analysis of Existing Wardrobe
Analyzing an existing wardrobe is often very emotional because ensembles are identified with meanings from past experiences (Guy & Banim, 2000). In order to make a rational evaluation of clothing, it is important to look at each item as objectively as possible. The objective questions to ask would include: is this item of clothing in the best colour palette; is the item in good repair, of good quality, and a good fit; does the item convey the appropriate image; and is the item a flattering style? If the answer to any of these questions is “no,” the item should be eliminated (Feldon, 2003; Marshal et al., 2004; Pemberton-Sikes, 2004). Elimination of those items that do not fit the criteria will leave only items on which to build a wardrobe that conveys credibility, power and effectiveness.

Color
To help create a more ideal appearance all pieces of clothing in a wardrobe should be in a flattering colour palette. A practical benefit to a harmonious colour palette becomes apparent when a person adheres to that palette to guide wardrobe planning. The whole wardrobe gradually coordinates as new pieces are introduced (Davis, 1996; Jackson, 1985). This enables a person to have more colour coordinated ensemble combinations.
The core of a basic professional wardrobe begins with a good quality neutral colored suit. The formality of the suit can be reflective of the category of business such as traditional, business casual, every day casual. The best suit colours are more conservative: solid, dark and middle in value, along with classic neutrals such as black, grey, navy, brown and camel (Damhorst et al., 2004; Feldon, 2003).

Line and Design
The clothing pieces in a wardrobe should also incorporate design elements that will enhance positive physical attributes and disguise negative attributes in order to achieve the ideal appearance (Davis, 1996; Feldon, 2003). For example, if a person has short legs, a shorter jacket and narrow pants would create the illusion of longer legs (Davis).

Capsule Concept
A well-planned wardrobe consists of clothing that will project the desired appearance of professional credibility, power and effectiveness. A basic capsule will achieve this goal with a minimum amount of clothing (Marshal Ct al., 2004; Wallach, 1981). The capsule concept is the principle of utilizing a small group of clothing items that are coordinated in colour, in flattering styles and shapes and with interchangeable parts (Wallach). A person can have one capsule or many capsules depending on their needs.
A basic capsule is limited to two principle colours, each of which can be worn alone or mixed with the other (Wallach, 1981). As a wardrobe consultant for 18 years, this researcher discovered that a capsule can be simplified to one basic colour and then augmented with accents. Navy is a good example for a spring or winter colour palette (various shades of camel would be good for summer, spring or autumn). Basic suit pieces such as a pant skirt and jacket in navy would be the foundation. The suit pieces can be worn together for interviews when a very formal appearance is desired or can be broken up to be worn in various combinations for a business casual or an everyday casual look.

Additional tops, skirts and pants that would be added should coordinate with the navy capsule. A print skirt with navy and other colours could be worn with the jacket for a business look. For a party look the same print skirt could be worn with a camisole top. Various accent colored tops could be worn with the suit. Each piece added to this capsule will create more wardrobe options. A beaded top could take the basic suit from the office to a party. The wardrobe options become vast with careful planning (Davis, 1996; Marshal et al., 2004; Wallach, 1981).

Wardrobe Planning for Career Success
Wardrobe planning begins with what is considered good in the existing closet, after a wardrobe analysis is conducted. The clothing left in the closet should be in the correct colour palette, good repair, of good quality and fit, in the appropriate image, and in a flattering style. The next step is to group clothing into possible capsules by color, for example, all the basic items that coordinate with a navy pant. The navy capsule (or other basic colour, such as camel, black, brown) should include a suit jacket, tops, navy bottoms, shoes and a handbag. There may be the beginnings of more than one capsule. Each capsule should be examined and a shopping list created featuring the missing items from the groupings (Davis, 1996; Marshall et al., 2004; Pemberton-Sikes, 2004; Wallach, 1981). When a clothing budget is limited it is best to focus on acquiring garments related to one capsule at a time. The subsequent step would be to introduce another capsule colour such as beige suit pieces. The navy and beige pieces can be mixed together. With careful planning, separate tops and bottoms can work with both capsules.

After wardrobe analysis, careful planning and purchasing, the clothing in the closet should be in the correct colour palette, in good repair, of good quality, of good fit, in an appropriate image and in a flattering style. With all of these elements in place a person should be able to use their clothes effectively and project a daily image of professional credibility, power and effectiveness.

Summary
The role of appearance in communicating a professional, credible and powerful image has been established (Forsythe, 1993; Kenner et al., 2002). Clothing is one aspect of appearance that is easy to change. By understanding the messages that each item of clothing sends, and implementing a systematic wardrobe plan a pcrson could develop a powerful and competent professional appearance.