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The European idea of fashion as a personal
statement rather than a cultural expression begins in
the 16th century: ten portraits of German or Italian gentlemen
may show ten entirely different hats. But the local culture
still set the bounds, as Albrecht Dürer recorded
in his actual or composite contrast of Nuremburg and Venetian
fashions at the close of the 15th century (illustration,
right). Fashions among upper-class Europeans began to
move in synchronicity in the 18th century; though colors
and patterns of textiles changed from year to year, (Thornton),
the cut of a gentleman's coat and the length of his waistcoat,
or the pattern to which a lady's dress was cut changed
more slowly. Men's fashions derived from military models,
and changes in a European male silhouette are galvanized
in theatres of European war, where gentleman officers
had opportunities to make notes of foreign styles: an
example is the "Steinkirk" cravat (see Cravat).
The pace of change picked up in the 1780s with the publication
of French engravings that showed the latest Paris styles.
By 1800, all Western Europeans were dressing alike: local
variation became first a sign of provincial culture, and
then a badge of the conservative peasant (James Laver;
Fernand Braudel).
Fashion in clothes has allowed wearers
to express emotion or solidarity with other people for
millennia. Modern Westerners have a wide choice available
in the selection of their clothes. What a person chooses
to wear can reflect that person's personality or likes.
When people who have cultural status start to wear new
or different clothes a fashion trend may start; people
who like or respect them may start to wear clothes of
a similar style.
Fashions may vary significantly within
a society according to age, social class, generation,
occupation and geography as well as over time. If, for
example, an older person dresses according to the fashion
of young people, he or she may look ridiculous in the
eyes of both young and older people. The term "fashion
victim" refers to someone who slavishly follows the
current fashions (implementations of fashion)..
I believe that fashion is..
One can regard the system of sporting various fashions
as a fashion language incorporating various fashion statements
using a grammar of fashion. (Compare some of the work
of Roland Barthes.)
Fashion and the process of change
The European idea of fashion as
a personal statement rather than a cultural expression
begins in the 16th century: ten portraits of German or
Italian gentlemen may show ten entirely different hats.
But the local culture still set the bounds, as Albrecht
Dürer recorded in his actual or composite contrast
of Nuremburg and Venetian fashions at the close of the
15th century (illustration, right). Fashions among upper-class
Europeans began to move in synchronicity in the 18th century;
though colors and patterns of textiles changed from year
to year, (Thornton), the cut of a gentleman's coat and
the length of his waistcoat, or the pattern to which a
lady's dress was cut changed more slowly. Men's fashions
derived from military models, and changes in a European
male silhouette are galvanized in theatres of European
war, where gentleman officers had opportunities to make
notes of foreign styles: an example is the "Steinkirk"
cravat (see Cravat).
The pace of change picked up in
the 1780s with the publication of French engravings that
showed the latest Paris styles. By 1800, all Western Europeans
were dressing alike: local variation became first a sign
of provincial culture, and then a badge of the conservative
peasant (James Laver; Fernand Braudel).
Fashion in clothes has allowed wearers to express emotion or solidarity with other people for millennia. Modern Westerners have a wide choice available in the selection of their clothes. What a person chooses to wear can reflect that person's personality or likes. When people who have cultural status start to wear new or different clothes a fashion trend may start; people who like or respect them may start to wear clothes of a similar style.
Fashions may vary significantly within
a society according to age, social class, generation,
occupation and geography as well as over time. If, for
example, an older person dresses according to the fashion
of young people, he or she may look ridiculous in the
eyes of both young and older people. The term "fashion
victim" refers to someone who slavishly follows the
current fashions (implementations of fashion)..
I believe that fashion is..
One can regard the system of sporting
various fashions as a fashion language incorporating various
fashion statements using a grammar of fashion. (Compare
some of the work of Roland Barthes.)
Fashion and the process of change
Fashion, by definition, changes constantly.
The change may proceed more rapidly than in most other
fields of human activity (language, thought, etc). For
some, modern fast-paced change in fashion embodies many
of the negative aspects of capitalism: it results in waste
and encourages people qua consumers to buy things unnecessarily.
Others, especially young people, enjoy the diversity that
changing fashion can apparently provide, seeing the constant
change as a way to satisfy their desire to experience
"new" and "interesting" things. Note
too though that fashion can change to enforce uniformity,
as in the case where so-called Mao suits became the national
uniform of Mainland China.
Materially affluent societies can
offer a variety of different fashions, in clothes or accessories,
to choose from. At the same time there remains an equal
or larger range designated (at least currently) 'out of
fashion'. (These or similar fashions may cyclically come
back 'into fashion' in due course, and remain 'in fashion'
again for a while.)
Practically every aspect of appearance
that can be changed has been changed at some time. In
the past, new discoveries and lesser-known parts of the
world could provide an impetus to change fashions based
on the exotic: Europe in the eighteenth or nineteenth
centuries, for example, might favour things Turkish at
one time, things Chinese at another, and things Japanese
at a third. The global village has reduced the options
of exotic novelty in more recent times.
Fashion houses and their associated
fashion designers, as well as high-status consumers (including
celebrities), appear to have some role in determining
the rates and directions of fashion change.
Fashion and status
Fashion can suggest or signal status
in a social group. Groups with high cultural status like
to keep 'in fashion' to display their position; people
who do not keep 'in fashion' within a so-called "style
tribe" can risk shunning (see also peer pressure).
Because keeping 'in fashion' often requires considerable
amounts of money, fashion can be used to show off wealth
(compare conspicuous consumption). Adherence to fashion
trends can thus form an index of social affluence and
an indicator of social mobility.
Fashion can help attract a partner. As well as showing certain features of a person's personality that appeal to prospective mates, keeping up with fashion can advertise a person's status to such candidates. Perhaps even more importantly, it sends a signal of superiority to potential competitors of the same gender, who are frequently better informed about what's fashionable than the potential mates are. Conversely, a person who exhibits a fashion style that rejects or deliberately tries to offend the current trend may also have an advantage in finding other like-minded individuals.
Fashion sense" consists of the ability to tell what clothing and/or accessories look good and what doesn't. Since the entire notion of fashion depends on subjectivity, so does the question of who possesses "fashion sense". Some people style themselves as "fashion consultants" and charge clients to help the latter choose what to wear. Designers show the public what is new and in style by using fashion models to display the clothing. Image consultants help people revamp or create fashion sense.
Fashion can operate differently depending on gender, or it can promote homogeneity as in unisex styles.