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The Importance of Fashion in Modern Society
The Importance of Fashion in Modern Society
The Importance of Fashion in Modern Society
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Cathy, a flagship of the intemperance, luxury and economic peculiarity rests on a point where the main emphasis is put on the materialistic, intellectual and moral issues (Cathy, 2003). Fashion is said to have an equal parallel to architecture judging from the sense of personal belonging and to the extent of detachment to it. Therefore, architecture puts itself in a position of social exclusion or inclusion to the ordinary social life of individuals. In normal ordinary life, people have moved an extra mile to use an extra cost to gain the right to feel that they can belong, personally identify, fit in elite and even acquire completeness through acquiring certain branded products irrespective of their the nature and quality (Cathy, 2003). These show some of the feelings attitudes, which people value so intensely to belong to a luxury fashion class. According to Rebecca Arnold, fashion is always a product of the culture of a wider society that is reflected on an innumerable of styles. These changes in brands provide a smooth definition of sexuality, ethnicity, status, gender and class that clearly show the change of culture at a certain time (Arnold, 2001, 4). Her argument goes on to suggest that, the nature of modern fashion is inherently contradictory because of its brands. “The threats and promise of the future reveals both our anxieties and desires constructingidentities that uses the most stylish dress as a route of self-creation and is still ultimate to self-destruction’ (Evans, c, 2003, 7). In a general sense, fashion could be an experience that affects several social aspects and the anxiety linked to the growth of the metropolis. The entrance of branded and fashioned retail shops creates the metropolis. These provide the lat...
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...more complex and sophisticated forms using refined materials. All these concepts are essential because of new fashion and designs that contribute to architecture as a field in general. Therefore, the current era is essentially sensitive and should not be ignored for a lack of positive impact in the welfare of people associated with it as individuals or in the society. For instance, as exemplified in this discussion, attires of personal creation form identity and provide definition for personal space the way architectural structures do, however, on a wider perspective. This whole notion of fashion in clothing has tolerated stature in society for many decades. This occurred especially for people who acquired status within their cultural alignments with the power to continue with this ideology and influence other cultural groups yet to reach their status in society.
In the 19th century play, FASHION, Anna Mowatt develops the character plot as a contrast and comparison between being “natural” and “artificial in a world becoming preoccupied with fashion, and being fashionable. In the head notes, it was stated that Daniel Havens said FASHION is “the ugly image of the American Dream gone sour.” (Watt and Richardson) Fashion has a complex definition. The word ‘fashion’ can mean anything from the type of clothes you wear, how you communicate with others, the place you live, how you present yourself, or who you associate yourself with. In FASHION, Mowatt took a comical yet sober look at the definitions of “fashion,” applied it to real life in 1845, and through her characters, provides a mirror with which an audience/reader can evaluate themselves. I do not believe updating this play would be difficult because America has continued down the fast and destructive path in an effort to keep up with the “fashions” of the day.
Yet, Ewen’s trends, fashions and styles that could be appropriately deemed traditions, are not explored from the perspective of tradition. Upon comparing the issues of identity crises suggested in A Bugs Life with those in Stewart Ewen’s The Chosen People, the sources and characteristics of identity crises in Ewen’s essay are found incomplete. Ewen limits his exploration of the sources and characteristics of identity crises of the middle class to consumerism and materialism as well as the obsession with image, style and fashion. By restricting his analysis to these issues, Ewen overlooks the perspectives of identity crises in relationship to tradition, the positive aspects of conformity and gender roles.
Lock, Simon. “Rewiring Fashion Week” The Business of Fashion. N.P., 27 September 2013. Web. 21 October 2013
Paul Poiret was born on April 20th, 1879 in Paris, France. His contributions to twentieth-century fashion has earned him the title in many people’s eyes as the “King of Fashion”, because he established the principle of modern dress and created the blueprint of the modern fashion industry. Poiret’s designs and ideas led the direction of modern design history. He was born into a working class family and his natural charisma eventually gained him entry into some of the most exclusive ateliers of the Belle Époque. Jacques Doucet, one of the capital’s most prominent couturiers, hired him after seeing promising sketches he had sold to other dressmakers. Furthermore, he was hired by the House of Worth and was put to work to create less glamorous and more practical, simple items because his out of the ordinary designs were not welcomed in open arms by opulent clientele. Despite this experience he was still confident in his ideas and ventured out on his own with money barrowed from his parents and opened a storefront. Moreover, he wanted to promote of the concept of a "total lifestyle” was seen as the first couturier to merge fashion with interior design. His independent work broke the normal conventions of dressmaking, and overturned their underlying presumptions. He liberated the woman’s body from the petticoat and the corset to allow clothing to follow woman’s natural form. Poiret also radically revolutionized dressmaking to switch from the emphasis surrounding the skills of tailoring towards those based on the skills of draping and began to use bright colors. Furthermore, Poiret was apart of the art deco movement, which was surrounded by a period of immense social upheaval, particularly for women, and emergence of technol...
The essence of modern architecture lays in a remarkable strives to reconcile the core principles of architectural design with rapid technological advancement and the modernization of society. However, it took “the form of numerous movements, schools of design, and architectural styles, some in tension with one another, and often equally defying such classification, to establish modernism as a distinctive architectural movement” (Robinson and Foell). Although, the narrower concept of modernism in architecture is broadly characterized by simplification of form and subtraction of ornament from the structure and theme of the building, meaning that the result of design should derive directly from its purpose; the visual expression of the structure, particularly the visual importance of the horizontal and vertical lines typical for the International Style modernism, the use of industrially-produced materials and adaptation of the machine aesthetic, as well as the truth to materials concept, meaning that the true nat...
The Trickle-down theory, a well-known theory in fashion industry, has significant meaning in 19th to 20th century Europe. The American economist and sociologist, Veblen, published The theory of the Leisure Class by 1899, in which he discussed the split between the leisure class and the industrial class in the US critically. He concluded that leisure class treats dress as a sign of their status and possessions, furthermore, ‘Dress must not only be conspicuously expensive and inconvenient; it must at the same time be up to date’(Veblen 1994), by saying that, he refers to upper class was tend to create new fashion trend which was the top of the trickle-down theory. In the 20th century, Simmel, the German sociologist and philosopher, developed this theory further from a more sympathetic perspective. He drew much attention to sameness and difference amongst both classes in his book Fashion (Simmel 1973). The upper class gets self-satisfied and the proof of its priority by distinguishing itself from others, and working class follows the fashion trend which led by upper class in order to feel like he or she is ‘belonging to’ higher class. These opinions which were discussed by Veblen and Simmel were coined by a journalist in the mid-20th century, as ‘Trickle- down Theory’. During mid-18th to early 20th century, the trickle-down theory described the process of how fashion flows, and explains that fashion is a cultural and sociological phenomenon which includes the discourse of identity and uniformity, agency and structuralism. This phenomenon was not limited by geography, at the same period, in the other side of the world, similar situation happened in China which is a typical East Asian country....
From this I want to argue that the world of consumption has a great influence on the way people create their identities. I shall explore important features of the nature and function of fashion, as it’s relevance offers models and materials for constructing identity. I then want to further my argument on whether consumption is seen as a passive process reflecting producer interests or an active process representing consumer interests, as this can determine how ones identity, or lack of, is perceived.
Fashion plays an important role in the lives of billions all over the world; people, as part of a status craving society, turn to “fashion capitals” of the world for ways in which to dress and carry themselves. New York, Milan, and Paris are leaders among this fierce industry that the world lusts after. Fashion can speak volumes about ones personality, or also about the condition the world is in at the time. In France, fashion changed rapidly and feverously as the times changed.
Fashion in the 21st century is a big business, as its production employs millions of people and generates billions of dollars in revenue. Fashion has for the past century been, and is still today, used as an indicator of social change and progress, as it changes with the social norms of the society and the political changes of the world (Finkelstein 3). Works Cited Finkelstein, Joanne. A.S.A. & Co. Fashion: An Introduction to Fashion. New York: New York University Press, 1998.
The act of consumption has been the primary means through which individuals in society participate and transform culture. Culture is not something already made which we consume; culture is what society creates through practices of everyday life and consumption involves the making of culture. When attempting to understand certain acts of consumption it is necessary to observe the relations involved in production and consumption. Through technological innovation, the fashion industry has been expanded to play a prominent role in consumers’ purchasing decisions and styles are becoming less difficult to obtain. With the expansion of department stores and shopping being viewed as a leisurely activity, this has continued to transform the act of fashion consumerism. The functional interests feature a rational attachment to clothing items. Symbolic benefits involve status and prestige to fulfill the achievement for positive self-esteem. Further benefits include a provided experience for the individual consumer and the created use of imagery and desire used to enrich one’s life.
middle of paper ... ... It also analyzed the influences of modern dresses. As Palmer and Clark (2005) mentioned earlier, both decades are the classic era in fashion history.
The world of fashion is an exciting one and people have become a part of it (Jennifer and Kim, 2010). Fashion is a word that can mean different things, to some people it means what celebrities or models wear on a public event. To others, fashion means the dressing style that people can wear it for their daily basis. Understand the definition of fashion is a basis of discussing the luxury consumption (Jennifer and Kim, 2010). Tortora and Eubank defined fashion as a way of behaving or some things and must be accepted by many members of group (Tortora and Eubank, 2005). For instance, the way of behaving include a wide variety of activities, such as the words people speak, the clothes people wear and the lifestyle people have. The majority of a
Fashion takes on many different facets and concerns many subsets— a model sashaying down the runway in a gown encrusted in real gems, Lady Gaga’s infamous dress made of cuts of raw beef, a teenage girl obsessing over the season’s latest styles— it is all an expression of our minds and who we are or want to be, made tangible. It is a medium just like any other, for while artists wield brushes and paints, designers use thread and cloth to illustrate their vision. The artistry is none more so apparent than in the exclusive world of haute couture, a world of extravagance that caters to aesthetics, producing one-of-a-kind wearable masterpieces that are made to be admired rather than worn. It is without doubt, high fashion and its design is an art.
To begin with, I shall look at what fashion is; it is a currently popular style or practice involving clothing, footwear or accessories. It mostly refers to the current trends in looks and dressing style of a person (Cumming 234). In most cases, fashion is confusedly related to costumes; when a person talks of fashion they are seen to mean fashion in terms of textile. Fashion is seen to originate from the Western world and it is copied by other places. In this paper, we shall look at how fashion affects lifestyles and the group of people who are affected most. The paper further investigates how media is used to transmit fashion from one region to the other. Although it has been seen to affect people’s lives many people have different perspectives on fashion and dressing.
Fashion is a controversial issue in society nowadays. We live in a consumerism advanced era in which whether following fashion trends or not has become a debatable point. Many people believe that it is important to follow fashion trends. For example, Lord Chesterfield once said, “If you are not in fashion, you are nobody.” The question is why fashion should be an essential matter of concern to all of us. As far as I am concerned, each person should be able to decide if one wants to follow a trend or not.