Fashion

From Wikipedia, the free encyclopedia

In Following the Fashion (1794), James Gillray caricatured a figure flattered by the short-bodiced gowns then in fashion, contrasting it with an imitator whose figure is not flattered.

Fashion refers to styles of dress (but can also include cuisine, literature, art, architecture, and general comportment) that are popular in a culture at any given time. Such styles may change quickly, and "fashion" in the more colloquial sense refers to the latest version of these styles. Inherent in the term is the idea that the mode will change more quickly than the culture as a whole.

The terms "fashionable" and "unfashionable" are employed to describe whether someone or something fits in with the current or even not so current, popular mode of expression. The term "fashion" is frequently used in a positive sense, as a synonym for glamour, beauty and style. In this sense, fashions are a sort of communal art, through which a culture examines its notions of beauty and goodness. The term "fashion" is also sometimes used in a negative sense, as a synonym for fads and trends, and materialism. A number of cities are recognized as global fashion centers and are recognized for their fashion weeks, where designers exhibit their new clothing collections to audiences. These cities are New York City, Milan, Paris, and London. Other cities, mainly Los Angeles, Berlin, Tokyo, Rome, Miami, Hong Kong, São Paulo, Sydney, Barcelona, Madrid, Vienna, New Delhi and Dubai also hold fashion weeks and are better recognized every year.

Areas of fashion

Fashions are social phenomena common to many fields of human activity and thinking. The rise and fall of fashions has been especially documented and examined in the following fields:

• Architecture, interior design, and landscape design
• Arts and crafts
• Body type, clothing or costume, cosmetics, personal grooming, hairstyle, and personal adornment
• Dance and music
• Forms of address, slang, and other forms of speech
• Economics and spending choices, as studied in behavioral finance
• Entertainment, games, hobbies, sports, and other pastimes
• Etiquette
• Management, management styles and ways of organizing
• Politics and media, especially the topics of conversation encouraged by the media
• Philosophy and religion: although the doctrines of religions and philosophies change very slowly if at all, there can be rapid changes in what areas of a religion or a philosophy are seen as most important and most worth following or studying.
• Social networks and the diffusion of representations and practices
• Sociology and the meaning of clothing for identity-building
• Technology, such as the choice of computer programming techniques
• Hospitality industry such as designer uniforms custom made for a hotel, restaurant, casino, resort or club, in order to reflect a property and brand.

Of these fields, costume especially has become so linked in the public eye with the term "fashion" that the more general term "costume" has mostly been relegated to only mean fancy dress or masquerade wear, while the term "fashion" means clothing generally, and the study of it. This linguistic switch is due to the so-called fashion plates which were produced during the Industrial Revolution, showing novel ways to use new textiles. For a broad cross-cultural look at clothing and its place in society, refer to the entries for clothing, costume and fabrics. The remainder of this article deals with clothing fashions in the Western world.

Clothing

The habit of people continually changing the style of clothing worn, which is now worldwide, at least among urban populations, is generally held by historians to be a distinctively Western one. At other periods in Ancient Rome and other cultures changes in costume occurred, often at times of economic or social change, but then a long period without large changes followed. In 8th century Cordoba, Spain, Ziryab, a famous musician - a star in modern terms - is said to have introduced sophisticated clothing styles based on seasonal and daily timings from his native Baghdad and his own inspiration.

English caricature of Tippies of 1796

The beginnings of the habit in Europe of continual and increasingly rapid change in styles can be fairly clearly dated to the middle of the 14th century, to which historians including James Laver and Fernand Braudel date the start of Western fashion in clothing. The most dramatic manifestation was a sudden drastic shortening and tightening of the male over-garment, from calf-length to barely covering the buttocks, sometimes accompanied with stuffing on the chest to look bigger. This created the distinctive Western male outline of a tailored top worn over leggings or trousers which is still with us today.

The pace of change accelerated considerably in the following century, and women and men's fashion, especially in the dressing and adorning of the hair, became equally complex and changing. Art historians are therefore able to use fashion in dating images with increasing confidence and precision, often within five years in the case of 15th century images. Initially changes in fashion led to a fragmentation of what had previously been very similar styles of dressing across the upper classes of Europe, and the development of distinctive national styles, which remained very different until a counter-movement in the 17th to 18th centuries imposed similar styles once again, finally those from Ancien Régime in France. Though fashion was always led by the rich, the increasing affluence of early modern Europe led to the bourgeoisie and even peasants following trends at a distance sometimes uncomfortably close for the elites - a factor Braudel regards as one of the main motors of changing fashion.

The fashions of the West are generally unparalleled either in antiquity or in the other great civilizations of the world. Early Western travellers, whether to Persia, Turkey, Japan or China frequently remark on the absence of changes in fashion there, and observers from these other cultures comment on the unseemly pace of Western fashion, which many felt suggested an instability and lack of order in Western culture. The Japanese Shogun's secretary boasted (not completely accurately) to a Spanish visitor in 1609 that Japanese clothing had not changed in over a thousand years. However in Ming China, for example, there is considerable evidence for rapidly changing fashions in Chinese clothing,

Albrecht Dürer's drawing contrasts a well turned out bourgeoise from Nuremberg (left) with her counterpart from Venice, in. The Venetian lady's high chopines make her taller.

Ten 16th century portraits of German or Italian gentlemen may show ten entirely different hats, and at this period national differences were at their most pronounced, as Albrecht Dürer recorded in his actual or composite contrast of Nuremberg and Venetian fashions at the close of the 15th century (illustration, right). The "Spanish style" of the end of the century began the move back to synchronicity among upper-class Europeans, and after a struggle in the mid 17th century, French styles decisively took over leadership, a process completed in the 18th century.

Though colors and patterns of textiles changed from year to year, 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 largely 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 or necktie.

The pace of change picked up in the 1780s with the increased publication of French engravings that showed the latest Paris styles; though there had been distribution of dressed dolls from France as patterns since the 16th century, and Abraham Bosse had produced engravings of fashion from the 1620s. By 1800, all Western Europeans were dressing alike (or thought they were): local variation became first a sign of provincial culture, and then a badge of the conservative peasant.

Although tailors and dressmakers were no doubt responsible for many innovations before, and the textile industry certainly led many trends, the history of fashion design is normally taken to date from 1858, when the English-born Charles Frederick Worth opened the first true haute couture house in Paris. Since then the professional designer has become a progressively more dominant figure, despite the origins of many fashions in street fashion.

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 considerably within a society according to age, social class, generation, occupation sexual orientation, 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 terms "fashionista" or "fashion victim" refer to someone who slavishly follows the current fashions

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.)

Changes

In youth subculture fashion is sometimes used to flout previously-held societal norms, such as by wearing pants low to expose underwear. (2008)

Fashion, by description, changes constantly. The changes may proceed more rapidly than in most other fields of human activity (language, thought, etc). For some, modern fast-paced changes in fashion embody many of the negative aspects of capitalism: it results in waste and encourages people qua consumers to buy things unnecessarily. Other 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 that fashion can change to enforce uniformity, as in the case where so-called Mao suits became the national uniform of mainland China.

At the same time there remains an equal or larger range designated '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, for example skirt lengths ranging from ankle to mini to so short that it barely covers anything, etc. 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 favor things Turkish at one time, things Chinese at another, and things Japanese at a third. A modern version of exotic clothing includes club wear. Globalization has reduced the options of exotic novelty in more recent times, and has seen the introduction of non-Western wear into the Western world.

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.

Media

The Brazilian model Gisele Bündchen is one of the most famous faces seen on fashion magazine covers.

An important part of fashion is fashion journalism. Editorial critique and commentary can be found in magazines, newspapers, on television, fashion websites, social networks and in fashion blogs.

At the beginning of the 20th century, fashion magazines began to include photographs and became even more influential than in the past. In cities throughout the world these magazines were greatly sought-after and had a profound effect on public taste. Talented illustrators drew exquisite fashion plates for the publications which covered the most recent developments in fashion and beauty. Perhaps the most famous of these magazines was La Gazette du Bon Ton

which was founded in 1912 by Lucien Vogel and regularly published until 1925 (with the exception of the war years).

Vogue, founded in the US in 1902, has been the longest-lasting and most successful of the hundreds of fashion magazines that have come and gone. Increasing affluence after World War II and, most importantly, the advent of cheap colour printing in the 1960s led to a huge boost in its sales, and heavy coverage of fashion in mainstream women's magazines - followed by men's magazines from the 1990s. Haute couture designers followed the trend by starting the ready-to-wear and perfume lines, heavily advertised in the magazines, that now dwarf their original couture businesses. Television coverage began in the 1950s with small fashion features. In the 1960s and 1970s, fashion segments on various entertainment shows became more frequent, and by the 1980s, dedicated fashion shows like FashionTelevision started to appear. Despite television and increasing internet coverage, including fashion blogs, press coverage remains the most important form of publicity in the eyes of the industry.

Intellectual property

Within the fashion industry, intellectual property is not enforced as it is within the film industry and music industry. While brand names and logos are protected, designs are not. Smaller, boutique, designers have lost revenue after their designs have been taken and marketed by bigger businesses with more resources. Some observers have noted, however, that the relative freedom that fashion designers have to "take inspiration" from others' designs contributes to the fashion industry's ability to establish clothing trends. Enticing consumers to buy clothing by establishing new trends is, some have argued, a key component of the industry's success. Intellectual property rules that interfere with the process of trend-making would, on this view, be counter-productive. In 2005, the World Intellectual Property Organization (WIPO) held a conference calling for stricter intellectual property enforcement within the fashion industry to better protect small and medium businesses and promote competitiveness within the textile and clothing industries.

Fetish fashion

From Wikipedia, the free encyclopedia

A woman wearing a black latex catsuit and thigh-high boots.

Fetish fashion is a type of clothing usually created to be extreme or provocative. These styles are not usually worn by the majority of people on any regular basis. They are usually made of materials such as leather, latex, nylon, PVC, spandex and fishnet. Some fetish fashion items include: stiletto heel shoes and boots (most notably the ballet boot), hobble skirts, corsets, collars, full-body latex catsuits, stockings, miniskirt, crotchless panties, garters and stylized costumes based on more traditional outfits, such as wedding dresses that are almost completely see-through lace.

Fetish fashions are sometimes confused with costuming, because both are usually understood to be clothing that is not worn as the usual wardrobe of people, and is instead worn to create a particular reaction..

Fetish fashions are usually considered to be separate from those clothing items used in cosplay, whereby these exotic fashions are specifically used as costuming to effect a certain situation rather than to be merely worn; such as the creation of a character for picture play. However, sometimes the two areas do overlap. For example, in Japan, many themed restaurants have waitresses who wear costumes such as a suit made of latex or a stylized French maid outfit.

Some type of garments that women wear to routinely improve their appearance are thought of as erotic and qualify as fetish wear: corsets and high heels. Most fetish wear is not practical enough for routine daily wear.

History

Fetish fashion has no specific origin point because certain fashions that were appreciated specifically for themselves or worn as part of a specific subculture have been noted since the earliest days of clothing. Some argue that the use of corsetry and hobble skirts back in the late 1700s was the first mainstream note of fetish fashions, because the majority of society did not have access to these articles. These items were specifically appreciated for themselves (i.e. the person liked the woman wearing the corset rather than just the woman by herself).

However, others argue that what is termed as fetish fashions started with the leather-wearing culture of the homosexual London, England underground after World War II. During this period, the homosexual men who began to use the rarely-used leather clothing items were doing so publicly and in large-order as identification and separation from the norm. Perhaps more importantly, the leather clothing items were being appreciated for themselves, and not just for their functional use. However, others argue that this identification is too restrictive, and that fetish fashion includes more than just leather.

The leather subculture later became more mainstream in the British 1960s due to the influence of rock musicians such as the Rolling Stones and the Who, and television performers such as the female lead in The Avengers, who wore full body leather catsuits and full limb-covering leather and latex gloves and boots.

Many fashion designers incorporate elements of the fetish subculture into their creations or directly create products based on elements that are not accepted by the mainstream. Malcolm McLaren and Vivienne Westwood created several restrictive BDSM-inspired clothing items for the 1970s punk subculture; in particular bondage trousers, which connect the wearer's legs with straps. The more recent fetish clothing makers Torture Garden Clothing, Vex Latex Clothing and Madame S of California focus on using latex and leather as the base material for their creations, rather than as an accessory.

Publications

Fetish fashions became popularized in the United States during the 1950s through books and magazines such as Bizarre and many other underground publications. Skin Two is a contemporary fetish magazine covering many aspects of the worldwide fetish subculture. The name is a reference to fetish clothing as a second skin.

Fetish costumes are very popular on internet sites.

Nazi chic

Nazi chic is a highly controversial topic in the fetish clothing world. Much of the fetish community regards Nazi chic as highly offensive, and most fetish clubs ban overt Nazi symbolism. However, the symbolism of fascist or communist regimes remains popular. A common compromise is to adopt the main design features of Nazi-era clothing, such as peaked caps, jackboots or long leather trenchcoats with high epaulets and tall collars. Most individuals who directly copy such clothing styles in their creations usually do not include any explicit Nazi symbols such as the reversed Swastika. Sometimes substitute symbols are used that clearly reference Nazi symbols without directly copying them.

Sexual fantasies

When the partners wear fantasy costumes as a sexual fetish they also embrace the different personalities instead of their own. The costumes range from classical attire, as in ancient Greek times, to present day firemen. Many times both partners decide what they want to be, and prepare a rough plot of their locality and shop for their attire and plan for a place and time where they would not be disturbed by others. Sometimes one partner surprises the other by suddenly appearing in a fantasy costume and the rest of the time goes based on their participation. When one partner is more active, usually he or she performs erotic dancing or speaks erotic dialogue as part of the fantasy. See role playing below.

A very common fetish costume for women is the dominatrix costume. Usually it consists of mostly dark or even black clothing. The woman usually wears a corset or bustier and stockings with high heeled footwear. High boots are quite common as they enhance the woman's domination. Most women in dominatrix costumes carry an accessory such as a whip or a riding crop.

Gothic fashion

Gothic woman, traditional style, with spikes and piercings.

Gothic fashion is a clothing style worn by both male and female members of the Goth subculture. It is stereotyped as a dark, sometimes morbid, eroticized fashion and style of dress. Typical gothic fashion includes black dyed hair and black clothes. Both male and female goths wear dark eyeliner and dark fingernails. Styles are often borrowed from the Elizabethans and Victorians. The extent to which goths hold to this stereotype varies, though virtually all Goths wear some of these elements.

Goth fashion is often confused with heavy metal fashion, and uninformed outsiders often mistake fans of heavy metal music for goth, particularly those who wear black trenchcoats or wear "corpse paint" (a term associated with the black metal music scene). Such misconceptions are especially rife in regards to the black metal fashion subgenre.^{[citation needed]}

Goth fashion culture

Goth style's rejection of mainstream values, emphasis on freedom of expression, and challenging taboos makes it difficult to define its aesthetic principles. Goth fashion emphasizes transformation of the body, elements of beauty, order, conscious eroticism and 'otherness' that flouts conventions.

While a member of the Goth subculture may or may not embrace nihilism, many are drawn to the fashion or music due to a sense of alienation, which may explain the style's fascination with morbidity or vampire style. Wearing black eyeshadow and shroud-like clothing that refers to the dead or undead, may express grief, despair, mourning or deathwish. However, this is not necessarily an anti-life attitude. Rather, Goth fashion can be a positive transformation from alienation through self-expression via beauty and fashion, and through a sense of belonging to a community that shares the same sense of alienation. Alternately, the choice to embrace this fashion may simply rise from a far less complicated psychology, and reflect an attraction to Eros through Thanatos, an attraction to the 'darker' side of sexuality. The wearer may find the extremity, intensity or 'otherness' of the dark Goth look or preoccupations to be sexy or empowering.

Theda Bara's look has inspired some types of Goth fashion.

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One famous female role model is Theda Bara, the 1910s 'Vamp' femme fatale known for her dark eyeshadow, curves and smoldering on-screen presence.^{[citation needed]}

Like the Urban Primitive movement, goth subculture rejects mainstream conventions and encourages reinventing oneself by transformation or physical modification.^{[citation needed]} That one may take total control of one's image is a powerful individual response to a society dominated by Photoshop images that prescribe a rarely attainable ideal of a faked 'natural' beauty. Goth fashion is a calculated "unnatural" response to the unattainable "natural" California Girls golden Barbie (or Ken) image.

Goth fashion can be recognized by its stark black clothing (or hair or makeup), often contrasted with boldly colored clothing, hair and makeup in strong shades of deep reds, purples, blues or emerald green, in fabrics and styles that evoke romantic eras as well as morbidity, that usually combine style elements that flow and drape as well as restrict or emphasize and sexualize a body part (i.e. corsetry or tight sleeves or trousers). Goth fashion further emphasizes the personal power of an individual, as the calculated juxtapositions of elements of the rugged accessories (i.e. metallic and leather), to that of the vulnerable, fragile and sensual restriction of body parts (i.e. lace, silks, and high heels for either gender). Like other fashions that embrace elaborate fashion choices and rules, goth fashion elicits attention from others, both goth or non-goth.