There is no denying the fact that the clothing and fashion industry dictate the way we dress ourselves. Youngsters, in particular, are easily influenced by the latest fashion trends. Now fashion shows are being organized even in smaller towns and children as young as three years want to wear the latest model clothes. All of these are signs of the growing influence of fashion industry. Unfortunately, this trend has both positive and negative aspects.
Fashion helps people dress well. Fashionable clothes make us more presentable. When people dress fashionably they feel good about themselves. This boosts their level of confidence and makes them perform well in the workplace. It is now a known fact that people who dress and look well have better chances of getting a job. Even if a person is not blessed with naturally good looks, they can make themselves more presentable by dressing well. That is where fashion helps.
Fur is the oldest form of clothing and it has been worn by humans for varies of reasons through out history; its natural appearance, texture, fashion, color and snow does not melt during outdoor activities.
He was a standout amongst the most persuasive footwear fashioners of the twentieth century, giving Hollywood's glitterati extraordinary hand-made outlines and bringing forth an emporium of extravagance customer merchandise for men and ladies, with stores in the absolute most imperative urban communities of the world.
The fashion industry affects society both positively and negatively, especially negatively, in ways like eating disorders, providing sizes for plus-size consumers, and representation of plus-size models and ethnically diverse models.
When most people think of 'fashion', they think of clothing a women's clothes in particular, and it is true that the 'world of fashion' implies the latest 'model' from Paris, New York or London. Curiously enough, it was man in the old days who, like the male bird, dressed himself in 'fine feathers' -- not so much woman. In Britain, for instance, the 18th century 'gallant' in his velvet coat lace ruffs and powdered wig was splendid to behold. But since about 1820, fashion decreed that to look 'male' meant to look somber, and men's clothes have never recovered from the change, or indeed altered very much since then. Women, however, have more than made up for them. Today, event he most remote and primitive of them try to obtain Western clothing, shoes, etc ... while the wealthier ladies of more developed countries spend annually millions of pounds sterling or US dollars on the latest 'model'. These are first produced in the famous fashion houses of Paris, New York, London and Rome. "haute Couture' draws the rich to the annual shows in these salons for the purpose of buying exclusive clothes. The prominent designers produce them according through their own ideas, and in doing so create new fashion trends which may or may not be popular. Stage two is the commercialization of successful models by large clothing firms which mass-produce them much more cheaply for the general market. and so, thousands of copies of a 'model' may appear in the chain stores some few weeks after the salon show. To be fashionable, women's clothes must have a certain 'look' which can be identified by other women, and therefore admired. It may be a raised or lower hem line, a low or high waist, a dress cut naturally off the shoulder, a certain range of colors or materials. The 'fashion-wise' woman recognized 'fashion' at once, and buys it, and this makes fashion big-business. To a lesser extent, men's clothes also vary according to fashion, but the conservatism of the average male is despair of the men's clothing trade.
Anna and Laura Tirocchi maintained a small, personalized dress business in Providence for over thirty years. These decades saw two world wars, a global economic depression, and the transformation of the industry of which they were a small part; however, the knowledge gained through study of the surviving Tirocchi shop inventory and records is only a fragment of the story of the women"s garment industry in America. Were the Tirocchis and their clients unique or typical? Was their experience of and response to the changes in their industry singular or common? To understand the Tirocchis" place in the dressmaking hierarchy of their day and the changes in the structure of their business, one must examine the wider world of American fashion.
Between 1900 and 1950, the ways in which American women of all social and economic levels thought about and acquired their clothing changed considerably. Any pretense to true high fashion in the early twentieth century required the purchase of a custom-made and custom-fitted wardrobe from Paris couturiers or from American importers and reproducers of Paris models.() Although Paris was generally the source of high fashion for what was considered at various times "high society," "the smart set," or "café society," it is also true for most of this period that to be well dressed in Paris required both money and social position, or money and celebrity. Women outside the small circle of wealthy frequenters of Paris couturiers did not exist for the style makers. Bettina Ballard wrote of this "small egocentric group of...chic Parisiennes...who inspired the couturiers and the modistes, the women for whom fashion was really created." She pointed out that during this time, society women "wouldn't have been considered eligible for a fashionable reputation until they were at least 35 and with their children behind them."() The youth cult of the post-World War II years was foreign to the elegance of haute couture. True high fashion was always the preserve of the few, but, as a later writer pointed out, "No style is fashionable until it is imitated."()
American fashion was seen by most critics as primarily imitative, with few original stylists. In spite of this, at all price levels American-made garments clothed the vast majority of American women. During the commercial life of the Tirocchi shop, the American garment industry learned to combine Art with Big Business. The notion that fashion and style could be made available to the majority of women, whether they were working class or leisure class, was an American original [fig. 77]. In the first decades of the twentieth century, class and social structure in the United States were much more fluid than in Europe. Social position was based not only on family and property, but also on wealth, however it was acquired, and on education: it was possible to cross boundaries. The definition of "society" began to broaden, as the aristocracy by birth and old money began to find competition from a new aristocracy of achievement, celebrity, and notoriety: the "café society" of the 1920s. While there was without doubt a leisured "Society" deserving of the capital "S" in the United States, there was also a need for stylish apparel among the countless women who worked outside the home, whether as volunteers or as wage earners.
There is a vast difference between Victorian furniture in Britain, pushy and elaborate and over-stuffed, and the cleaner, streamlined household products of the middle 20th century -- and this is simply fashion. Much modern furniture is grossly uncomfortable and much Victorian furniture supremely functional ! Houses, too, vary according to architectural fashion, modern leading architects setting the trends. Your new house today may be round, or made of glass and steel, or built on a split-level plan, or -- thanks to modern materials such as reinforced concrete -- perched high over a river or protruding from a mountain side. the old-fashioned 'boxy' structures are 'out'.
Fashion stylists hold the job title of someone who selects the clothing for published editorial features, print or television advertising campaigns, music videos, concert performances, and any public appearances made by celebrities, models or other public figures.