Application and Testing of a Modified Cross-Cultural Product Design Model:

The Case of the Althea Goddess Headdress

Elisa Olsen, Josefa Gonzales, Chelsea Wilkinson
School of Design and Human Environment
Literature Cited
Design Process and Method
Purpose and Justification
Large scale immigration has necessitated the need to understand the
multidimensionality of acculturation (Zakian, 2009). Products including
dress and adornment marketed across cultures are increasingly
prevalent in todays globalized world. An understanding of cultural
factors through research is important because the development of
products to be marketed and used across cultures continues to expand
(Lin, 2007).

The Armenian people have preserved their rich culture in the midst of
immigration, war, genocide and political strife (Takooshian, 1995).
Takooshian (1995) observes that the Armenian population within the
United States has changed from a more central being Armenian to a
more surface feeling Armenian, expressing nostalgic pride in their
heritage while acting fully American (p. 113). A greater understanding of
Armenian culture through research both scholarly sources and
interviews - is important because, while Armenian culture has been
studied (particularly from the perspective of immigration [e.g.,
Takooshian, 1987]), it has not been studied in great depth and few
sources (e.g., Richoux, 2009) have addressed dress and adornment.
The present study aims to make a contribution to the literature that fills
this void, especially with regard to Armenian material culture.

The purpose of this research is to present and test a modification to the
design process proposed by Lin (2007) for the creation of cross-cultural
products in the context of an original Armenian headdress designed by
the researchers. It is important to both apply and critique conceptual
models and design processes. Lin (2007) suggested the use of an
extensive literature review and contact with members of the culture.

A modified Armenian headdress the Althea Goddess Headdress
(AGH) - was designed to meet the headdress needs of Armenian
women acculturating to United States culture (see Figure 4). The
present study had three objectives:
Objective 1: To determine the extent to which the traditional Armenian
headdress can be changed to become a cross-cultural product.
Objective 2: To obtain feedback regarding the AGH from Armenian
women.
Objective 3: To identify the benefits and limitations of the design
process proposed in the Lin model in the context of a case study.

Althea Goddess Headdress
The researchers followed a design process informed by the
Cultural Product Design Model (CPDM) proposed by Lin
(2007). This Model contains three layers and levels (see Figure
6); the purpose of which is to transfer cultural features to design
elements which in turn are used to develop a new design. The
designer is expected to reach all three layers of design.
Visceral design relates to the physical features and appearance
of an object, behavior design relates to the function of an
object, and reflective design relates to the underlying symbolic
meanings of an object and the cognition required to understand
an object (Lin, 2007).















The design process included an iterative process of research
and design creation. A broad literature review was conducted
about the Armenian culture. The prototype was constructed
(see Figures 5 and 7). Arrangements were then made to hold a
focus group consisting of Armenian women in order to collect
feedback on the design. Nine participants were included in this
focus group. The age of participants ranged from 27 to 45. The
length of time lived in the United States ranged from two to
thirty years. The focus group session took place at an Armenian
church in Portland, Oregon. The analysis process included
theme identification using the constant comparative method.
Connections were made between the feedback and units of
information in order to further strengthen the aspects of design
most valued by the participants. Conclusions were made as to
the necessary modifications that should be made to the design.
Findings:
Application of Scholarly
Literature to Design
Application of Focus Group
Findings to Design
The analysis of focus group responses yielded four distinct
themes related to feedback of the AGH

1) Recognition of Design as Armenian
When shown the design, all of the participants exclaimed that
the AGH design did not look Armenian.
One reason for the participants lack of visceral connection to
the AGH was that it resembled a traditional headdress from a
previous period in history. Lucine spoke first stating that it
looks like something from the 18
th
-19
th
century. This made
sense, given that the literature covers historical dress most.
Lucine added that coins are a material used by several Middle
Eastern cultures; it is the amount of coins used that sets it
apart as Armenian. Therefore, it is not only important to use
coins on the headdress, but also a large quantity of coins.
INSERT
IMAGES?
Visceral Level of Design:
The entire headdress is reminiscent of the historic
Akhalzikha bridal headdresses (Eicher, 2010).
Pearls, a lace pattern created with silver chains, coins, a
blue gem, diamonds, and red jewels are decorative features
found on traditional Armenian bridal headdresses (Danielyan,
2005; Hintz, 2004).












Behavioral Level of Design:
The center chain is added for stability while being worn
instead of including a traditional fez-like turret hat
(Poghosyan, 2001).
Pearls are worn by the bride to fulfill a queen for a day
status that was bestowed upon the bride for her special day
(Eicher, 2010).
Social status and wealth are indicated by lace and gems;
these materials also act as an economic safeguard (Eicher,
2010).
The headpiece is used in rituals before the wedding
ceremony. Single women wave the veil over the head of the
bride for luck (Hintz, 2004).

Reflective Level of Design:
Adorning the front of the AGH is a blue gem which takes the
place of the symbolic 'evil eye.
Armenian superstition includes the linking of pomegranate
seeds with fertility and coins with good fortune (Hintz, 2004;
Petrosian & Underwood, 2006). The red beads symbolize
pomegranate seeds.
The seven chains on the back of the AGH design represent
the traditional seven day celebration with family before the
wedding.
Discussion and Conclusions
2) Addition of Materials
The main critique of the AGH was that the quantity of each
decorative material applied to the design (e.g., coins, beads, and
faux diamonds) was sparse by the participants standards.
Lucine also emphasized that additional silver chains needed to
be added along the forehead and under the chin of the AGH; this
suggestion was made with the intention to assist the piece in
looking more Armenian.
3) Shifting Focus
The AGH was designed with the focus on the back of the head
so as to draw a visceral connection between the two cultures.
Participants expressed the design would reflect Armenian culture
more successfully if the focus was brought to the front with more
flashy materials (e.g., beads, coins, and pearls).
4) Representation of Heritage in the AGH
Family history is passed down through written/spoken word and
material culture. Lucine talked about a white wedding headdress
with coins that her grandmother had worn for her wedding and
again for her 25
th
wedding anniversary. An unexpected behavioral
benefit of the AGH was that it could be worn to represent heritage
upon subsequent wears for wedding anniversaries.

The vague nature of
the CPDM proposed
by Lin (see Figure 6)
necessitated the
development of a
modified cultural
design process.
Using the design and
assessment of the
AGH as a case study,
the researchers
propose a
modification to the
CPDM. The modified
design process is
titled the Reflective
Pyramid Process
(RPP).
The RPP consists of the following steps (see Figure11): (1) Broad
research of culture; (2) Design focus; (3) Create design; (4) Field
investigation; (5) Information analysis; (6) Connection between
literature and field investigation findings; and (7) Design
modification. Cross-cultural design often asks for a successful
merging of cultures to take place in the form of a product, but the
findings of the present study found that Armenian heritage was
predominantly indicated at the visceral level in the case of the
AGH. The RPP assisted in the collection of these findings and, in
so doing, takes into account the various components of culture
(including heritage). Future research may include further testing
of the Reflective Pyramid Process in the context of other cultures.

Design Inspiration
The first inspiration came from Western culture where there is an up-
and-coming trend of wearing body jewelry (see Figures 1 and 2). It has
become more popular to adorn other areas of the body including the
shoulders, legs and head with jewelry in Western culture, specifically
within the bohemian style tribe. Cosmopolitan.com also included such
headpieces on their website in a slideshow labeled Spring Accessory
Trends We Love; consumers can purchase one from online retailers
like Saks Fifth Avenue or Etsy.com. Such pieces have been worn by
many celebrities, including Kim Kardashian for her 2011 wedding.
Inspiration was also drawn from the work of designer Ken Borochov in
W magazine (see Figure 3) who designs extravagant aluminum
crowns and headpieces and was featured in 2013. Lastly, inspiration
was drawn from the traditional Armenian Akhalzikha headdress a
small fez-like cap (see Figures 8 and 10) (Eicher, 2010).
Figure 1.Gold
chain headpiece,
2013.
Figure 2.Boho
beaded gold, 2014.
Figure 3. W Magazine featurette about
Ken Borochov (Nelson, 2013).
Figure 8. Vartanian, 2012.
Figure 9. Young woman traditional
wedding dress, 2013.
Figure 10. Vartanian, 2012.
Figure 4. Front, side, and back views of the AGH. The design also transforms into a necklace.
Photos by Hannah OLeary.
Figure 5. Preliminary sketch of AGH.
Figure 6. Lin Model (Lin, 2007, p. 46).
Figure 7. Assembling the finished AGH.
Boho beaded gold bronze white hair chain hair jewelry kim kardashian hair clip [Online Store]. (2014). Retrieved November 5, 2013,
from: http://www.etsy.com/listing/152313313/boho-beaded-gold-bronze-white-hairchain?utm_campaign=Share&utm_
medium=PageTools&utm_source=Pinterest
Danielyan, E. (2005). Diamond industry slump slows Armenian growth. Retrieved from
http://www.eurasianet.org/departments/business/articles/eav021405.shtml
Eicher, J. (2010). Encyclopedia of world dress & fashion. (Vol. 9, pp. 89-90, 291-292, 296). Oxford University Press.
Gold chain headpiece with blue glass teardrop pendant [Online Store]. (2013). Retrieved November 5, 2013, from:
http://www.etsy.com/listing/160992913/gold-chain-headpiece-withblueglass? utm_campaign=Share&utm_
medium=PageTools&utm_source=Pinterest
Hintz, M. (2004). Armenia enchantment of the world. Canada: Childrens Press.
Lin, R. T. (2007). Transforming Taiwan aboriginal cultural features into modern product design: A case study of a cross-cultural product
design model. International Journal of Design, 1(2), 45-53.
Nelson, K. (2013). The excessory designers. Retrieved from
http://www.wmagazine.com/people/insiders/2013/08/ashley-lloyd-ken-borochov-and-juniper-rose/
Poghosyan. (2001). "Taraz"-Armenian traditional costume. Retrieved from http://www.melina-design.com/Armenia_cost_en.html
Petrosian, I., & Underwood, D. (2006). Armenian food: Fact, fiction & folklore. Bloomington, Indiana: Yekir Publishing.
Richoux, S. (2009). Karine Arabian: The Armenians in fashion 17th-21st centuries. Paris: 585 Somogy Art Publishers.
Takooshian, H. (1987). Armenian immigration to the United States today from the Middle East. Journal of Armenian Studies, 3, 133-155.
Takooshian, H. (1995). Armenian Americans. In Gale Encyclopedia of Multicultural America (Vol. 1, pp. 109-122). New York: Gale
Research Inc.
Vartanian, I. (Blogger). (2011). Armenian traditional dress [Web blog]. Retrieved November 1, 2013, from:
http://armenianps.blogspot.com/2012/07/armenian-traditional-dresses_04.html
Young woman in traditional wedding dress [Government Organization]. (2014). Retrieved November 16, 2013, from:
http://www.iec.ch/etech/2011/etech_0911/fam-2.htm
Zakian, R. (2009). Factors related to acculturation among Armenian Americans. Unpublished doctoral thesis, Alliant International
University, Los Angeles, California.


Figure 11.