Fashion: A Cultural Context

Fashion is multi-faceted- a multiple resource- depending on your budget and military strength you can restrict in make and yet be tot al one(a)y several(prenominal) thanks to the available choice, and the liberal clothe codes that exists. Only 40 eld ago things were very different- discuss the genial and ethnic variegates that countenance interpreted place since the 60s that has bothowed this phenomenal budge to happen, using quotes from authors and academics to underpin your estimations. Introduction As we approach the year 2003, we find a vastly different fake manufacturing from that which existed only 40 age ago. Although the elan of life sector is cognize for its apid change, we see an perseverance today that has been dramatically transformed by such(prenominal) brisk things as radical technology, orbicularisation, and changing consumer values.Every segment of the industry has been required to change to meet raw competitive challenges. As a result, we fin d a modal value industry that has restructured its self to respond to global competition. The industry is faster, is geographically more than than wide spread and can localise on understanding and serving the consumer more effectively than ever before. though transportation and communication advances, the industry has become a orldwide production and dissemination ne twainrk. At the corresponding clock time, new technologies allow close examination of consumer charters and make water reduced the time it takes to respond to those needs. One of the most put up images of the 1960s is undoubtedly the miniskirt dip. non merely a new panache trend but a true icon of the sixties, the mini skirt epitomised the attitudes of the era. The name synonymous with the fame of the mini skirt is of course bloody shame Quant. Not only was she responsible for creating the infamous mini, but she all overly led the vogue for the radical changes in the trend industry hat made capital of t he United Kingdom such a celebrated centre through out the decade. identical most new room trends, the mini skirt was an innovative idea sparked off by a series of unique amicable and cultural changes. Hemlines had been dramatically shortened at another(prenominal) multiplication before the sixties, too in times of great brotherly change, after and during World war 1and World War 2. This mold revolution happened at the same time as another big cultural change of the century- pop music. medical specialty has and always will be a major govern on fashion and sub- elaboration. Another huge cultural change of the decade was the pill.The jr. generation was becoming less inhibited, and more sexually promiscuous because of the cunning of the contraceptive pill, and clothes became more overtly sexual and revealing. A dogged the passageway of Haight Ashbury, hippies could be seen wandering along, discloseing their multi-coloured kaftans or afghan coats over fringed tasseled dres ses, flat leather sandals, a headband copied straight from the American Indians or a pair of scruffy flargond jeans. What had started off for m either as an ethical movement by a few die-hard individuals in America soon became a world ide phenomenon influencing lifestyles and creating the main stream fashion of the new sixties. This was a form of anti-fashion as revolt.It was untidy and spontaneous and radically different from the chirpy neatness of the earlier years of the decade and the futuristic fashions of the previous few years. Boutiques such As I was Lord Kitcheners Valet or Granny Takes a Trip in London, both reflected the sartorial anarchy of the times with their bright riotous designs. Hippie women reacted against the dolly bird image of the archean sixties that with he arrival of the mini skirt had been designed to unloosen the young woman from sexual stereotyping.With its thigh revealing length it imprisoned her in a look, which aimed directly at the males libido. A lthough the late sixties collapse been criticised for its naive belief that allow love and marijuana would solve the worlds problems, in that location was a lot of creative activity which led to permanent social change. People felt free to break down taboos. The womans, civil and fairylike rights movements all started in this decade. Sexual stereotypes were being broken down and free love was on the agenda.Men and woman began to look alike with unisex jeans and long hair, the older generation felt increasingly alienated from the young. Experimenting with gender was partitioning of the revolution. As woman took up the banner for sexual disturbity, men began to balk the fifties ideal of muscular machismo. The old mores of what constituted male dress were broken down and men experimented with less obviously masculine looks. more of the late sixties was, for many spent in a daze of drug induced euphoria.The use of LSD was a fond influence on ideas and dress. People xperimented with their lifestyles in the belief that they were somehow on the lane to a greater aw atomic number 18ness and under standing, fuelled by the sensory grow of acid and its ability to distort the senses, creates hallucinations and vivid colours. Fashion has always had its social conscience and can be the perfect vehicle for powerful political messages, from the iconisation of Che Guevaras portrait to the anti- war slogans of Katherine Hamnetts T-shirts. But the truly unexpected that flies in the face of fashion its self can carry as powerful a signal as the blatantly written message.Anti-fashion by comment is the opposite of fashion, so if it exists, it should be different every time fashion changes. But its rules stay the same because what it all represents is all negative- anarchy, destruction of magnitude and instigation of chaos. By the middle 1970s woman had discovered that that trousers gave them a sexual neutrality that allowed them to compete in the work place. The 1980 s career girl was instantly an executive who had business lunches and held boardroom meetings. She was confident, independent and more liberated than ever. Designers created conform tos especially for these woman.Denim jeans were re-designed to fit woman, and the designers name on a visible score became all-important. This period launched power fecundation. Womens trousers have always reflected social change and womens maturation confidence in their place in society. This was especially true during the seventies. direct every woman has a pair of trousers of some kind in her wardrobe, whether part of a suit or a pair of purposeless denim jeans. This continues to illustrate womens increasing sense of equality and freedom of choice in society, of which womens trousers have been a constant measure.Alongside this licence to occupy from a range of styles regardless of the context a more dangerous fashion aesthetic existed. The androgynous clothes many women choose to get in expr essed the growing womens movement and their desire to be taken more seriously they entered the work force on a more equal footing. The seventies represented the twilight of an era of sexual liberation, over intemperance and decadence. The sexual revolution whitethorn have been discussed at length in the sixties, but it could be argued that it actually happened and exploded in the seventies, especially in increasingly jaded ways.The chic new sexual conventions of the day denied that a persons sexuality could be neatly classified. During the 1980s, fashion became integral to the newly emerge concept of the lifestyle. The new wealth and prosperity hyped in the media were ever more evident throughout the decade. In this decade there was a deregulating of the stock market and an explosion in property prices. This helped establish the culture of the yuppie. There was enormous wealth around, but it was spent with a embodied mentality, so that even the most exotic trophy wife appeared to be dressing not only for her an, but for boardroom approval. Power dressing- dressing to show your importance and bank balance, dressing for success, was in.Even if you were a supermarket shelf stacker, you would still wear your impressive power suit in Your abandon time. In the 1990s Princess Diana of Wales, was a major influence. She had the rare gift of combining aristocrat grace with the stature of a catwalk model. She championed the interests of British fashion at family line and abroad and had her own unique international stage. Her style emerged over the years into a more sophisticated and confidently intuitive one.Having Diana wear your outfit was a priceless piece of publicity, but even for those who copied, she was a strong influence and a tonic to the industry. She gave hope to a whole new generation of couturiers and mainstream designers, and a new out look to many girls who could instantly wear such clothes without having to be debutante. To understand the constant changes in fashion, it is important to understand that fashions are always in harmony with their era.As a famous designer expressed it Fashion is a social phenomenon which reflects the same continuing change that rides through any given age. Changes in fashion, he emphasised Correspond with the subtle and often hidden networks of forces that race on society In this sense, fashion is a symbol. divers(prenominal) views exist on how fashion changes are started. Sprole & Burns categorised these views into two groups as follows- * Because the fashion industry thrives on change, this idea suggests that different segments of the industry force change on the consumer by dictating new trends. Traditionally, European fashion houses exerted a powerful influence the trade media such as womens wear daily, shaped the industries choices.Therefore, consumers choices and retailers dictated what would be worn by what they carried. Although all these forces are important, Sproles noted Changing fas hion is a far more Byzantine phenomenon that those with the industry- centred views may wish to believe. In recent years, many consumers have become increasingly resistant to having new fashions forced on them. lots consumers now exert a spirit of independence in their dress by wearing what they feel is right for them, regardless of what the industry promotes.* Others who show fashion change, believe consumers are responsible for hat becomes fashionable. Given an roam of products from which to chose certain trends develop because a group of consumers establish that these fashions are right. quartette major theories suggest how consumers determine the course of new trends some trends may begin with the upper socioeconomic consumers. Others may occur within all socioeconomic groups. Sometimes fashions rise from subculture groups such as urban African- Americans, youth, mordant collar workers and ethnic minorities such as Native American. Nearly any creative or initiative individu al can launch fashion trends if they are consistent ith the social climate and lifestyles of the times (Sproles 1981). Men and women are complex creatures whose actions are seldom governed by reason alone. Change comes astir(predicate) for psychological reasons.People grow bored of what they have, the eye wearies of the same colours, lines, and textures after a time. What is new and different appears refreshing, and what has been on the scene for a part appears dull and unattr ready. Changes for such psychological reasons occur also in the fashions for products other than clothing. Auto manufacturers introduce new colours and shapes because potential buyers ire of the same colours an shape. Changes in fashion are also caused by lucid reasons, such as environmental factors that create knew needs. A classic fashion model of social change that brought about drastic change in fashions occurred in the early decades of the twentieth century, when women sort, gained and enjoyed new pol itical and economic freedom. Their altered activities and concepts of them selves support them to discard the constricting garments that had been in fashion for centuries and to adopt shorter skirts like those of Mary Quants, relaxed waistlines, bobbed hair nd other fashions more appropriate to their more active lives.Generations later, as women moved into top executive positions in the business world, the made-to-order suit, soft blouses and attachi bags became the dressing for success fashion of young career women in the late seventies and eighties. The physical fitness movement in the 1970s and 1980s brought about the need for exercise clothing, and as the interest in jogging, hiking, tennis and aerobics grew, also did the need for new and different fashions appropriate to each of these active sports. day-after-day Fridays and a shift towards working at home have hanged the way many people dressed for work in the 1990s. Even environmental concerns influenced fashion by avoiding the use of certain dyes and finishes harmful to nature. Conclusion Although fashions change constantly and new ones appear almost every epoch, a complete change over is never completed at any one time. In studying the pattern in change in fashions, scholars have observed that changes in fashion are evolutionary in nature, or else than revolutionary. It is only in retrospect that fashion changes seem marked or sudden.Actually they come about as a result f a series of gradual shifts from one season to the next. For example, when womens skirts became inching up from the mid calf in the 1960s this gradual shortening was not extraly observable at first. It was only when skirts moved thigh high, in the form of minis and small minis, that people took happen upon of the approaching extreme. Even today, when the rate of fashion change has execrated sharply, the pace of change is really slower than it appears to the unskilled observer who has failed to notice the early evolutionary mo vements in a new direction.The evolutionary ature of fashion change is a fundamental principle that is recognised by fashion practitioners, it provides them with a solid, factual foundation for forecasting and identifying in-coming fashions. When planning and developing new styling ideas, they always keep the current fashions and evolving directions in mind. Therefore the expectance of a particular coat or dress fashion during a current season becomes a straw in the wind for experts to search for clues to next seasons trends. The power point of its acceptance provides needed clues as to what will or will not be welcomed by the consumer in the next season.Knowing that people do not respond well to sudden changes, the fashion experts build gradually, not abruptly, towards new ideas. Even the slowest most gradual of evolutionary changes in fashion, do change eventually. Examples of this can be found in archives and recent times. For example when the mini skirts of the 1960s moved up to the micro mini skirts of the1970s, hems began inching downward. Whether it be skirt lengths, suit lapels, silhouettes or general fashion looks, all fashions tend to move steadily towards an extreme, at which point a new direction develops.