George Simmel was born in Germany in 1858 and emerged as one of the major theorists of the turn of the century (?,?). His writings on philosophy and social sciences included one of the only insights, at the time, into the structure of fashion in society, Fashion, 1904. In this text he expressed his thoughts on society in relation to fashion and style, examining societal groups and how they used fashion as a form of segregation. He referred to the elite class as trend setters, differentiating themselves by creating new fashions, and lower classes as the mimics, in an effort to associate themselves with an elite identity. This cycle brought many different fashions over the 20th century and was described as the trickle-down effect. Although Simmels theory depicts various characteristics still currently valid there are aspects that no longer play a role in the transformation of fashion.
Paragraph one: Summery of theory
Georg Simmel explores the impact societal differentiation played on the 20th century, in the article Fashion, published in 1957 in The American Journal of Sociology, Volume LXII, Number 6. In this text he defines his theory stating “The elite initiate a fashion and, when the mass imitates it in an effort to obliterate the external distinction of class, abandons it for a newer mode- a process that quickens with the increase of wealth” (Fashion, p.541). Fashion connects those of a higher social class and segregates them from others. Simmel believes that fashion evolves from class differentiation, as members of the elite class seek to set themselves apart from other classes, and in turn a revolving cycle begins (Blumer, p.277). Members from other lower classes copy the elite’s fashion and with this the elite must change...
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...ccessibility to fashion styles and trends.
Conclusion
Fashion denotes the changing styles within social hierarchy. Simmel theorized on the underpinnings of fashion with his distinct theory on fashion as a form of segregation. This theory gives rise to a cycle of ever changing styles in an effort to distinguish social classes, exposing aspects within society that effect decisions made by individuals on their choice of dress. Simmel believed that fashion arose in the form of styles which define an elite group. This belief best defines fashion throughout the early to mid-20th century as throughout this period fashion was seen as a form of segregation. When a style becomes a common look it is no longer fashionable in the eyes of the trend setters. Fashions are driven by the consumers desire to emulate current trends and by their need to display their social capital.
From the conventional Victorian dresses of the 1800’s to the rock-and-roll tee shirts of the 1980’s, American culture has experienced incredibly diverse trends in clothing. This ever changing timeline of fashion provokes the question: what is the cause of such differing styles? By considering the state of society throughout the era, it can be seen that clothing directly correlates with the current way of life. Specifically, American women’s fashion of the 1920’s and 1930’s proves to not simply be a meaningless trend – but rather an accurate reflection of the specific era. As the stock market booms and society prospers, women’s fashion undergoes drastic change during the 1920’s.
In chapter five of Suitably Modern, Mark Liechty discusses the action of “doing fashion” and how it affects the middle class and consumption in Kathmandu. Chapter five poses the question; what is new and what is not? This concerns the class distinctions and if modernization is actually occurring. The middle class in Kathmandu is claiming its own domain through clothing and ostracizing themselves. The author deems this action as adornment he defines it by stating, “It is used to set individuals and groups apart from some and to signal sameness”. Adornment can be a class distinction but also a gender role distinction. Women practice adornment to be indifferent in their relationships with men. For example women can chose to use flashier make-up which can distinguish a married woman from an unmarried woman. Liechty associates fashion with freedom. Film coming to Kathmandu quickly generated the modernization of fashion and consumption. Films exposed the residents to different types of fashion. Ultimately, the middle class wants its own cultural zone; through fashion and consumption it hopes to completely fit in with one another and still be distinct from other classes.
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.
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....
A time of exuberance and elaboration ushers in new patterns and cuts, along with creativity and fantasy which brought about a distinct societal issue called classism, as shown by European fashion trends. The style of Baroque is “characterized by formal redundancy, by the complexity of patterns, by the eccentricity of decorations, and by the textile sumptuousness” (vogue.com). From light and airy tints, to deep and earthy hues, the coloration of clothes gave this extreme period emotion and depth that strikes the eye, even today. Classism is a major factor and restriction during this era, reflecting the attire an individual wears. Regarding child-like garb to the working class, public could distinguish rank. Furthermore, society can differentiate the church and the nobility’s superiority. In Baroque culture, your status was visually depicted by the clothing you were able to wear. Garments impacted civilization for the duration of the Baroque age, just as is does in society today.
In the early 1800s, France was the sole fashion capital of the world; everyone who was anyone looked towards Paris for inspiration (DeJean, 35). French fashion authority was not disputed until the late twentieth century when Italy emerged as a major fashion hub (DeJean, 80). During the nineteenth century, mass produced clothing was beginning to be marketed and the appearance of department stores was on the rise (Stearns, 211). High fashion looks were being adapted and sold into “midlevel stores” so that the greater public could have what was once only available to the social elite (DeJean, 38). People were obsessed with expensive fashions; wealthy parents were advised not the let their children run around in expensive clothing. People would wait for children dressed in expensive clothing to walk by and then they would kidnap them and steal their clothes to sell for money (DeJean, 39). Accessories were another obsession of France‘s fashion; they felt no outfit was complete without something like jewelry or a shrug to finish off the look and make it all around polished (DeJean, 61). As designers put lines together, marketing began to become important to fashion in the nineteenth century; fashion plates came into use as a way to show off fashion l...
Many people would not believe that there are so many similarities between modern day fashion and the fashion of the renaissance time period. Many differences may be seen between the two, but the similarities are remarkable. Throughout all of time, clothing has been the major representation of social classes. What people wear has always been the distinguishing factor between the wealthy and the poor classes of both the renaissance and current time period. The evolution from time period to time period has been vast, but the fact that what people wear represents what class they reside in is still very prevalent. From the fabrics, jewels, and accessories, you can still see many similarities from the renaissance time period to the current time period. “…much of what we know about historical dress comes from the apparel of the elite.” (Sauro) Although much time has progressed, fashion from the renaissance period has held a strong influence on the fashion in today’s society.
...o contextual influences and past experiences. Therefore it is almost impossible to pre-empt the ways in which others will perceive you. Over time ideas will change and therefore alter the ways in which we look back on past clothing choices. Whilst symbolism in fashion may no longer be subject to laws as it was in the 14th century or defined by strict social rules in the 17th century, the clothes we wear are still today subject to imposed social ideals. Apart from distinguishing one status group from another, a style of dress may also aid group cohesiveness, provide the individual with an identity and a feeling of belonging, and communicate the wearer’s attitudes and interests. The ways in which we interpret others and present ourselves for interpretation is the only true way that we can be individual. Symbolism in clothing may not seem as obvious or important nowadays as it was in times of extreme social bigotry, but it is still highly prevalent and has remained one of the most effective ways to project our desired image to those around us. ‘The state of a person’s clothes is synonymous with self respect and is a sign of responsibility’ (www. Pemberley.com/janeinfo/vebleis7.html)
Fashion in the 21th 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).
Many know this, but at times, it just feels very propelling. An example of this would be when people know the release date of the shoe and wait for hours before the store opens, just to be caught up in the trend. However, it has a life cycle because it diffuses very quickly. For example, you can buy the newest shoe, but if two weeks past by and a new style comes out, the shoes that you just bought is no longer in fashion. Therefore, every style has an expiration date. Because we see the time and effort, people put into buying shoes, we catch ourselves also intrigued. Therefore, fashion is social, because we would notice what people are wearing and copy them, which is known as imitation, such as when people bought the Jordan 1’s because Michael Jordan wore them. This connects back to Simmel’s idea because imitation gives individual the satisfaction of not standing alone in his actions, free from choosing and appear “simply as a creature of the group, as a vessel of the social contents” (Fashion, 295). Therefore, it is through fashion and imitation, we find a sense of belonging to a group that has a similar taste to
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.
Clothing has been around for thousands of years; almost as long as the modern human has. At first, it served the practical purpose of protection from the elements; but, as life for early humans stopped being a constant struggle to survive, they started noticing how they looked and the concept of fashion began to take shape. These first few garments were typically dyed draped cloth that was pinned at the shoulder and/or waist. This was seen in many ancient civilizations around the world, Greek and Roman the most notable. Over time, clothing began to get more and more complex and formed to the body’s shape, eventually leading up to the tailored style we now have today. However, the sophisticated world of Haute Couture; or high fashion, can distinctly trace its roots to Paris during the mid-19th century. Clothing from there was thought to be superior to those from anywhere else, and women began to come from all over Europe just to buy dresses. This was probably due in part to one notable dressm...
In conclusion, fashion will speak out a person’s social signal, people dress on designs that blend with their social class. Just as population, social activities and fashion are changing with time. Fashion has made clothing to be convinient, everything needs to be done with the least effort and spend the least time.
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.