Monthly Archives: February 2018

Today’s Unique Fashion

Every era and every century brings new fashion in clothing, jewelry, products, and everyday living. The unique fashion of jewelry in today’s fast paced and ever changing styles comes with elegant taste, shiny stones, curvy shapes, and of course the free shipping! Let’s face it, in today’s society brings the power of online selling. Fashion could not be at its best right now. The media plays its role, but woman and men have unique tastes and want to wear what represents them whether it is power, beauty, or just the statement that says hey, look at me! So what exactly makes today’s unique fashion in jewelry so important? We will take a look at staying hip and stylish in today’s era, websites and how they keep up with today’s fashion, and the power behind unique fashion in today’s era.

Jewelry has forever been a statement of power, but in today’s modern era, jewelry is worn for fashion and presentation more than ever. Fashion has become the style that represents you as a person. Wearing unique fashion of today’s world is one way of showing how “hip” and stylish you can be. Don’t get me wrong, wearing older fashion jewelry shows style too, which is a whole different conversation. Staying hip and stylish is important to the younger generation. When they are trying to impress there secret crush or trying to stay “popular” in school wearing the right hip jewelry is extremely important, but what makes today’s unique fashion hip? Well it’s a combination between the media and our role models and what they wear and the fads that run through towns like untamed horses. Both ideas run very close but also can differ. Young children and teenagers pick up on hip and stylish new fads very quickly.

Humans have a basic instinct and a taste for fashion. As new generations become of age, new ideas and new tastes develop that can slightly change or drastically change the current style and fashion. Having a website that stays up to date with fashion and offers the best of the best is key and should be saved under your favorites. Websites that offer free shipping is also a perk that could influence where you shop. There are thousands and thousands of websites competing for the top search engine spot, but the one who gets that spot can influence today’s unique fashion in jewelry. They can influence because when you search “today’s fashion in jewelry” the top site will get the most views and pursue the viewer that the sites content is today’s fashion. Websites that make it to the top of search engines obviously have value and traffic since they are ranked high, so in a sense those sites must know fashion and must be popular with returning customers.

The power behind today’s unique fashion runs very thick with media influence, the internet, and what is hip/stylish. So how can today’s fashion have power? The media shows what they portray as “hip and stylish” then the teenagers and children mimic this fashion and then that spreads a fad through that community. The parents and guardians notice and pick up on this fad and then start to purchase and order this new fashion of jewelry online and in retail stores. In the end, everyone is happy. The economy is running thoroughly, the children and teenagers are happy, and the parents and guardians are happy. The power of today’s unique fashion influences everyone in some kind of way. People must pay attention to growing fads and new styles.

In conclusion, jewelry in today’s era is competitive. The unique fashion that changes swiftly, can move economies and change the way people look. Three things that make today’s unique fashion important is the younger generation and how they long for being hip and stylish, the online market and how it competes, and the power of modern fashion.

Fashion Careers Jo b

A career in the fashion industry sounds glamorous and lucrative. Have you consider getting into the fashion industry, but might think that you cannot manage it? There are so many different roles and positions that you can play in the fashion world. One does not necessarily be a fashion designer but still be able to have a very success career in the fashion industry.

Being able to make a living with things you like is always enjoyable. If you are a fashion fan and love to see beautiful clothing, accessories or sketches around you, you should consider starting a career in the fashion world. Below are some key roles in the fashion world where you can take part in – from design, production, marketing, to many more.

Designing
This is one of the most high profile jobs in the fashion industry. Designers are responsible for conceptualizing their ideas on trends and realizing them on their final products. Designers can be employed by companies which own a group of designers, or work for their own brand and production line, or, even as a freelancer providing designs for difference companies.

There are several types of fashion designers:

1. Apparel designers: Obviously these are clothing designers, ranging from lingerie, sports wear, casual wear to high fashion couture, for men, women and kids.
2. Footwear designers: They design footwear for men, women and kids from a style point of view, as well as from a foot-health’s perspective.
3. Accessory designers: Accessories has a broad definitely – from handbags, hat, eyewear to gloves, scarves and jewelry pieces.

Production
Production involves the sampling of garments and accessories until producing the final pieces that would deliver to shops and customers. This massive work involves a team of various professions:

1. Merchandiser: Merchandisers play a key role in the production process of a fashion product.They are responsible for buying raw materials for production, selecting fabric, textiles and trims. They have to make decisions based on pricing, quality and latest trend and innovation of raw materials.

2. Technical Designers: Technical designers are the one responsible for doing fittings during the whole sampling to production procedure. They might not be the one who designed the garment but are the experts in providing alternative to the garment to improve the fitting of garment.

3. Pattern Makers: Pattern is the basis for a garment to be sewed. Pattern makers produce and maintain patterns for garments that designers have sketched out. Pattern makers are key persons in realization of a garment.

4. Pattern Graders: The sizing of garment starts with the pattern grading. Pattern graders are experts in creating size specifications for different sizes. They are vital persons in for any fashion brands, as a consistent sizing across products can maintain customer loyalty and confidence.

5. Fitting Models: Ultimately garments and footwear are made for putting comfort and style together. Fitting is a crucial part in fashion industry and the most precise fitting is to use model as the body for fitting.

Many companies have their own dedicated models for fitting their lines, who has the exact sizing measurement the brand requires. Sometimes you would see ads looking for sampling models, from kids, men, women to plus size models.

6. Quality Control Specialists: Quality control is of top importance for any sort of products, and is no exception in fashion industry. Quality control specialists look at the quality of raw materials, like peeling, shrinking and color fading of textile and overall quality of a fashion item, for instance, the overall assembling of an accessory item.

7. Planners: Fashion planners coordinate closely with designers, merchandisers and buyers to decide the production plan for the coming seasons. They look at both production and marketing side while paying close attention to the latest fashion trend.

Marketing
Marketing is as important as making a perfect piece of fashion item. Whether it’s marketing in a wholesale or retail side, people in fashion marketing bears the mission of promoting the fashion item into this fast changing world.

1. Fashion Buyer/ Retail Merchandisers: Product merchandisers are the ones who buy ready-made products to be sold in a shop like department stores. These merchandisers conduct researches and analyze market trend, the relative customer wants and stocks. They bear huge responsibility in terms of profit making, since having the eye to buy the right product for sales can make a difference in revenue.

2. Showroom Sales Specialists: Some brands own their showrooms, displaying their collection for fashion buyers (wholesalers) to make their orders. Compared with retail sales, showroom sales specialists should know their seasonal returning customer better and be able provide detailed information on the selling collections.

3. Retail Store Manager/ Boutique Owners: Retail shop manager, sales and boutique owners are the first line personnel facing retail customers like you and me.

Other Fashion-related Professions
Besides in the field of designing, producing or marketing a fashion item, one might be attracted by other positions like as a writer of fashion magazine, online blogs and fashion event management etc. Below is a list highlighting the other possible jobs related to fashion industry:

1. Fashion Writers: Writers or freelance writers can write for magazines, online blogs or sites on reviews, trends and recommendations. Fashion writers can also develop into fashion magazine editors.

2. Personal Stylists:Some department stores provide personal styling services while some private customer would employ personal stylist giving them recommendations in personal styling.

3. Fashion event Management/ Public Relations: There are nameless fashion events which requires professional public relations and event management personnel to take care of. There are PR companies specialized in holding fashion related events.

Grasp the Opportunities!
Besides the above mentioned careers in the fashion industry, there are still many other opportunities like photographer, costume designer and catalog/ fashion show models, etc. One of the most reachable way to keep yourself updated with job opportunities and fashion trend is to be active in fashion forum and subscribe to fashion magazines.

Tips to Become a Widely Loved Fashion

Creating your own fashion blog can be the easiest and at the same time, the toughest of all writing assignments. The task can be both intimidating at times and exciting too. There is probably no other subject on earth that makes you as jittery as the subject of fashion when you start creating a blog dedicated solely to the aspects of looking great.

Do Not Focus Solely on Earning Money: Like most of the other bloggers, fashion bloggers are also allowed to make money through proper marketing of their blogs. But, earning money should not be the sole purpose of the blog. A number of fashion blogs these days are interested in generating revenue through advertisements of different fashion brands. This makes it way too difficult to build a heart to heart connection with the readers.

Invite The Reader to Your Fashion World: People do not visit a fashion blog just to check out what clothes the bloggers are wearing. They want to have a complete fashionable experience by receiving knowledge about what they should wear and why. Moreover, the visitors would like to get into the complete runway fashion experience or would love to imagine themselves to be in the part of the world that a particular trend of fashion belongs to. This is the best way to gift the ordinary blog readers with a nice “almost” fashion show like experience without intimidating their taste for fashion. In fact, that is what most of them turn to a fashion blog for.

Engage The Readers with Excellent Write-ups: It is true that the nice and catchy photographs are prerequisite to bringing more traffic to your fashion blog. That does not mean you can forget keeping an eye on the quality of posts on your blog. Remarks interwoven with witty and intelligent fun keeps the readers hooked and makes most of them coming back, again and again. No matter how beautiful the images are and how much your knowledge and sense of fashion helps the visitors, you cannot expect them to wait for a few minutes before leaving, until the information in black and white does not seem to be enlightening and appealing enough.

Reach Out to Readers by Imparting Confidence: Fashion blogs are a tad different from the usual fashion magazines and the lifestyle channels on television. Writing for fashion blogs is beyond mere advising about what to wear and what not to. But, the readers love to see in the fashion blogs how ordinary people actually dress. Unlike, popular fashion magazines and TV channels, such blogs tell its target readers how to wear whatever they want to, confidently. Some widely popular fashion magazines cannot impart the same confidence that the wearer needs to carry along with the dress.

Do Not Suggest Buying Expensive Products: The dream of buying expensive clothes, accessories, bags and shoes from big fashion labels often pursue people to end up adding them to their stock. Still, a large number of people cannot afford such brands. Does that mean, those people cannot really reach out for what is called fashion in true sense? Fashion bloggers can bridge the gap by relying equally on low-budget products as they do on expensive brands.

Image is The Heart of Fashion Blogs: High quality photographs are a must for the success of a fashion blog. Fashion is one subject, blogs on which requires to cater to the ocular sensory nerves a lot. So, it becomes very important for the blogger to look for the right kind of pictures to validate the subjects of blog-posts. The readers will definitely like to have a look at what they are being suggested to wear. It is very important to put up very clear and professionally taken photographs that will also help them visualizing themselves in such clothes. It is very important for the blogs to become fashion inspirations for the readers. Otherwise, they will not come back to the blog again.

Effects of Subculture Fashion

The notion that trends in fashion take part in a phenomenon known as the trickle down effect has long been recognised by fashion pundits. A process of social emulation of society’s upper echelons by the subordinates provides myriad incentives for perpetual and incessant changes in fashion through a sequence of novelty and imitation. Dior’s ‘New Look’ of 1947 consisted of creations that were only affordable to a minority of affluent women of the time. Fashion was governed by haute-couture designers and presented to the masses to aspire toward. However, this traditional prospective has been vigorously challenged by many throughout the fashion world. Revisionist observations have introduced a paradoxical argument that fashion trends have, on numerous occasions, inadvertently emerged from the more obscure spheres of society onto the glamorous catwalks of high-fashion designers.

These styles can originate from a range of unorthodox sources, from leather-jacketed punks and dramatic Goths, the teddy boys of the 1950s, to ethnic minority cultures from all edges of the globe. Styles that emerge from the bottom of the social hierarchy are increasingly bubbling up to become the status of high fashion. There has been significant concern over the implications of this so-called bubble-up effect, such as the ambiguity between the notions of flattering imitation and outright exploitation of subcultures and minority groups. Democratization and globalisation of fashion has contributed to the abrasion of the authenticity and original identity of street-style culture. The inadvertent massification of maverick ideas undermines the ‘street value’ of the fashions for the very people who originally created them.

The underlying definition of subculture, with regards to anthropology and sociology, is a group of people who differentiates from the larger prevailing culture surrounding them. Members of a subculture have their own shared values and conventions, tending to oppose mainstream culture, for example in fashion and music tastes. Gelder proposed several principal characteristics that subcultures portrayed in general: negative relations to work and class, association with their own territory, living in non-domestic habitats, profligate sense of stylistic exaggeration, and stubborn refusal of massification. Hebdige emphasised that the opposition by subcultures to conform to standard societal values has been slated as a negative trait, where in fact the misunderstood groups are only attempting to find their own identity and meaning. The divergence away from social normalcy has unsurprisingly proliferated new ideas and styles, and this can be distinctly observed through the existence of fashion diversity. Ethnicity, race, class and gender can be physical distinctions of subcultures. Furthermore, qualities which determine a subculture may be aesthetic, linguistic, sexual, political, religious, or a mixture of these factors.

Sigmund Freud and his nephew Edward Bernays investigated the drivers of social control and the engineering of consent. Their psychological theories provide insight into the causes of deviation, by members of a subculture, from social norms. They highlighted the irrationality of human beings and discovered that by tapping into their deepest desires, it is possible to manipulate unconscious minds in order to manage society. Freud believed that stimulating the unconscious was crucial to creating desire, and therefore is conducive to economic progress and mass democracy. Bernays argued that individual freedom was unattainable because it would be “too dangerous to allow human beings to truly express themselves”. Through various methods of advertising, a distinctive ‘majority’ can be created in society, where a person belonging to this group is perceived to be normal, conventional and conformist. By using techniques to satisfy people’s inner desires, the rise of widespread consumerism plays a part in the organized manipulation of the masses. However, through the unleashing of certain uncontrolled aggressive instincts, occasional irrationality emerged in groups, and this repudiation of the banalities of ordinary life is believed to be a key factor in the generation of subcultures.

The expansion of youth styles from subcultures into the fashion market is a real network or infrastructure of new kinds of commercial and economic institutions. The creation of new and startling styles will be inextricably linked to a process of production and publicity inevitably leading to the diffusion and spread of the subversive subculture trends. For example, both mod and punk innovations have become incorporated into high and mainstream fashion after the initial low-key emergence of such styles. The complexities of society perpetuate continuous change in style and taste, with different classes or groups prevailing during certain periods of time. To deal with the question of which is the most influential source of fashion, it is necessary to consider distribution of power. It is not the same for all classes to have access to the means by which ideas are disseminated in our society, principally the mass media. In history, the elites have had greater power to prescribe meaning and dictate what is to be defined as normality.

Trickling down to shape the views of the substantial passive parts of the population, designers from high places were able to set trends that diffused from the upper to lower spectrum of society. Subcultures, it was suggested, go against nature and are subject to abhorrence and disapproval by followers of mainstream trends. Regrettably, criminal gangs, homeless subcultures and reckless skateboarders, among other ‘negative’ portrayals of subcultures have been accused of dragging down the image of other ‘positive’ subcultures which demonstrate creativity and inspiration. There is an unstable relationship between socialising and de-socialising forces. Nevertheless, German philosopher Kant observed that actual social life should and always will consist of in some way its own opposite asocial life, which he described as “unsociable sociality”.

Without doubt, fashion exhibits a dichotomy of conformity and differentiation, with contradictory groups aspiring to fit in and stand out from a crowd. Previously, the pace of change that fashion went through has spawned social emulation, a phenomenon whereby subordinate groups follow a process of imitation of the fashion tastes adopted by the upper echelons of society. Veblen, a Norwegian-American sociologist and economist, criticized in detail the rise of consumerism, especially the notion of conspicuous consumption, initiated by people of high status. Another influential sociologist Georg Simmel, classified two basic human instincts – the impetus to imitate one’s neighbours, and conversely, the individualistic behaviour of distinguishing oneself.

Simmel indicated the tendency towards social equalization with the desire for individual differentiation and change. Indeed, to elucidate Simmel’s theory of distinction versus imitation, the distinctiveness of subcultures in the early stages of a set fashion assures for its destruction as the fashion spreads. An idea or a custom has its optimal innovative intensity when it is constrained to a small clandestine group. After the original symbolic value of the idea has been exploited by commercialisation and accepted as a part of mass culture, the balance will have a tendency to tip towards imitation over distinction. An example of the imitation of a distinctive subculture is the evolution of blue jeans, which originating from humble American cowboys and gold-miners, demonstrate a bubble-up effect of a subculture. On a larger scale, it can be said that Western style dressing ‘bubbled-up’ from 19th Century Quaker’s attire, rather than ‘trickling down’ from the styles of Court aristocracy.

Simmel describes fashion as a process by which the society consolidates itself by reintegrating what disrupts it. The existence of fashion requires that some members of society must be perceived as superior or inferior. From economist Harvey Leibenstein’s perspective, fashion is a market constituted of ‘snobs’. The phenomenon of ‘snob-demand’ depicts consumers as snobs who will stop buying a product when the price drops too much. The trickle down effect has been related to a ‘band-wagon effect’ where the turnovers of a product are particularly high as a result of imitation. Every economic choice is bound not only to the pure computational rationality of individuals, but is influenced by irrational factors, such social imitation, contrary to what Simmel calls the ‘need for distinction’. However, a ‘reverse bandwagon effect’ acts as an opposing force when a snobbish consumer stops buying a product because too many others are buying it as well. The resultant force depends on the relative intensity of the two forces.

Subcultures have often endured a less than agreeable relationship with the mainstream as a result of exploitation and cultural appropriation. This often leads to the demise or evolution of a particular subculture once the originally novel ideas have been commercially popularised to an extent where the ideologies of the subculture have lost their fundamental connotations. The insatiable commercial hunger for new trends instigated the counterfeiting of subculture fashion, unjustifiably used on the sophisticated catwalks in fashion dictatorships of Paris, Milan and New York. It is not purely sartorial fashion but also music subcultures that are particularly vulnerable to the massification process. Certain types of music like jazz, punk, hip hop and rave were only listened to by minority groups at the initial stages of its history.

Events in history have had substantial impacts on the rise, development and evolution of subcultures. The First World War had an impact on men’s hairstyles as lice and fleas were ubiquitous in wartime trenches. Those with shaved heads were presumed to have served at the Front while those with long hair were branded cowards, deserters, and pacifists. During the 1920s, standard social etiquettes were discarded by certain youth subcultures, as drink, drugs and jazz infiltrated America, intensified by the alcohol prohibition of the time. A crime subculture emerged as smugglers discovered profit opportunities with Mexican and Cuban drug plantations. The Great Depression of the late 20s in North America caused pervasive poverty and unemployment. Consequently, a significant number of adolescents discovered identity and expression through urban youth gangs, such as the ‘dead end kids’.

Existentialists like Camus and Sartre also played a significant part in influencing the subcultures of the 1950s and 60s. Emphasis on freedom of the individual created a version of existential bohemianism resembling the beat generation. This subculture represented a version of bohemian hedonism; McClure declares that “non-conformity and spontaneous creativity were crucial”. In literature, Steinbeck’s “The Grapes of Wrath” depicted the economic hardship of these times. Initially burned and banned to American citizens, condemned as communist propaganda, this book was given the Nobel Prize for literature in 1962. It only took a few decades for the previously socially unacceptable book to diffuse into mainstream culture.

The popularisation of folk and cowboy songs led to their unique underlying patterns being mixed with elements of jazz, blues and soul, creating a new subculture of western swing. Technological progress facilitated “instantaneous mass media creating large subcultures from the ideas of a range of smaller subcultures”. Accordingly, a bubble-up effect can be seen where, through a process of innovation and diffusion, original ideas can spread into mass culture.

The process of integration has a potential to lead to the polarisation of warring subcultures, contributing to social disorganization. Shaw and Mckay assessed that although their data is not sufficient to determine “the extent to which membership in delinquent gangs produces delinquency”, membership is probably a contributing factor. They use the term ‘differential social organisation’ to depict how subculture formation is a result of broader economic and demographic forces that undermine conventional local institutions of control.

The institution of the family is weakened by these forces, and as a result, alternatives to the traditional family have arisen as various subcultures. Ethan Watters elucidated this social trend in his book defining urban tribes as “groups of never-married’s between the ages of 25 and 45 who gather in common-interest groups and enjoy an urban lifestyle”. Analysis of the long term perspective of street trends reveal that youth trends bubble-up every five to ten years, and that individualism, anarchy and self-realization, are universal in these trends.

In the process of bubbling up, there are two important concepts to consider, that of ‘diffusion’ and ‘defusion’. Fashion diffusion focuses on the individual and the crowd, particularly in this case the spreading of fashion in a systematic way from small scale to large scale institutions. It highlights the idea that fashion innovation and creativity drawn from subcultures are integrated into mass culture. In the process, non-conformist fashion may be subject to defusion, a diluting of the fundamental intrinsic meaning of the original subculture. The commercialisation of fashion is especially central to the danger of decontextualisation of trend origins. For example, the wearing of ripped jeans, an accepted form of attire nowadays, does not necessarily relate to the image of ‘hippies’ in modern times. The concept of identity and its modifications and transformations after a period of time should be carefully considered.

Analysis of street style is another fundamental aspect in determining the extent of a bubble-up effect in fashion. It is an idea that opposes the view that high fashion has given way to popular culture. Polhemus proposed that “styles which start life on the street corner have a way of ending up on the backs of top models on the world’s most prestigious fashion catwalks”. Prior to this new train of thought, the predominant view was that new looks began with couture and ‘trickle down’ to the mass market mainline fashion industry. Polhemus suggested that the evidence he found gave insight to a chain of events; initially genuine street innovation appears, followed by the featuring in mass media, such as magazines or television programmes, of street kids. In time, the ritzy version of the original idea makes an appearance, as a part of a top designer’s collection.

Polhemus identified two basic street-styles involving dressing up or dressing down. Those from a relatively affluent sector of society, such as the Beatniks and Hippies developed a penchant for the latter, preferring to descend down the socio-economic ladder in the interest of authenticity. Nowadays, the variety of attire seen on streets and nightclubs show that culture is no longer only a prerogative of the upper class. Although, the creatively democratic society that we progress towards optimizes fashion innovation, cynics of the bubble-up effect, such as Johnny Stuart, condemned in his book on rockers, “the fancy fashionable versions of the Perfecto which you see all over the place, dilute the significance, taking away its original magic, castrating it”.

Social crises of the 1950s and 1970s brought about new ideological constructions in response to the worsening economy, scarcity of jobs, loss of community, and the failure of consumerism to satisfy real needs. Racism became a solution to the problems of working-class life. Such periods of social turmoil resulted in fashion defusion, with many subcultures becoming increasingly detached from their foundation symbolisms. The connotations of the attire of the teddy boys during the 1970s bore little resemblance to the style of 1956. The original narcissistic upper-class style was somewhat irrevocably lost in a wave of ‘second generation teds’ that preferred fidelity to the classic ‘bad-boy’ stereotypes. The concept of specificity, subcultures responding to circumstances at distinctive moments in history, is depicted as vital to the study of subcultures.

Therefore the resultant mass-consumed item may draw distance from the emblem of the original subculture, attainable to all who can afford it. The loss of identity may prove to be a serious problem as subcultures may feel exploited, estranged and meaningless without a sense of belonging. Subcultures established a sense of community to certain individuals during a new post-war age that witnessed the deterioration of traditional social groupings. Polhemus claims that subcultures like Teddy Boys, Mods, Rockers, Skinheads, Rockabillies, Hipsters, Surfers, Hippies, Rastafarians, Headbangers, Goths, etc, as “social phenomenon style tribes cannot be dismissed as something transitory”. Known as the Kogal phenomenon, a subculture emerged where groups of young girls between the ages of 15 and 18 appeared on the streets of Tokyo with long dyed-brown or bleached-blond hair, tanned skin, heavy makeup, brightly coloured miniskirts or short pants that flare out at the bottom, and high platform boots.

‘Field’ has become more appropriate in the analysis of fashion changes. People engaged in similar lifestyles with intrinsically similar cultural capital, i.e. nationality, profession, family and friends form group identities interacting with others in the same ‘field’. This has been an important contributing factor to the birth of subcultures.The anachronistic belief that class was a determinant of fashion has reduced significantly, as confirmed by Bauman, who proposed the idea of ‘liquid society’, where fashion exists in a more flexible and malleable state.

A particular phenomenon of recent times, subject to both a trickle-down and a bubble-up effect of varying degrees, is the democratization and globalization of fashion. There has been an emergence of ‘prĂȘt-a-porter’ invented by John Claude Weill in 1949. This development has increased the speed and diffusion of fashion trends across the world, which amplified the culture of fast fashion, massification and global standardisation. Standardised factory-made prĂȘt-a-porter clothes, of which ‘wearability’ is crucial, sometimes descend from places of high fashion, for example inspired from couture. Designers such as Poiret, Dior and Lacroix produce a ready-to-wear line alongside their haute couture collection to take advantage of a wider market. Nevertheless, its mass-produced industrial nature detracts away from the exclusivity of traditional couture.

By 1930, couturiers like Schiaparelli, Delauney, and Patou began to design their own ready-to-wear boutiques, understanding the new emerging system of fashion whereby the moment that people stop copying you, it means that you are no longer any good. The democratization of couture disallowed it to sustain its elitist nature and therefore haute couture was beginning to accept that fashion was about emulation. Nevertheless, attire was not entirely uniform and equalised. Subtle nuances continued to mark social distinctions but mitigated the upper class penchant for conspicuous consumption.

Democratising fashion came hand in hand with a ‘disunification’ of feminine attire, which varied more in form and became less homogeneous. The fundamental attraction of making profit inspired innovation in styles and a perpetual search for lower costs through efficient industrial manufacturing. Institutions were evolving to an extent that the pretentious elitist sectors diminished in favour of universal mass production. The end of the Second World War brought about increased demand for fashion, encouraged by films and magazines of the time and the take off of global advertising campaigns, i.e. Levi’s, Rodier, Benetton, Naf-Naf, etc, highlighting the need for high standards of living, well-being and hedonistic mass culture. It is the globalisation and rapidity of fashion movements, as Kawamura amply discussed, that underline the fact that “fast-changing tastes of consumers are matched only by the cleverness of the department store that identifies trendsetters among young consumers and feeds their knowledge into the production cycle”.

Women Fashion Trends

It has rightly been said by fashion gurus that year 2010 is and will continue to be an interesting and exciting year for fashion. With the end of the global financial crisis and recession trend, an upheaval in the fashion world was seen in the beginning of the year and this is continuing. In all the fashion shows that have taken place so far, a new standard of fashion rise up is seen. The latest trends in women fashion 2010 have been inspired by yesteryear’s classic styles with a dash of sex, skin, colors, embellishments and of course attitude and glamor. Let us see some of the latest women fashion trends 2010.

2010 Fashion Colors, Prints and Patterns
There is a mix of soft, delicate styles with sporty look in the Spring/Summer 2010. No doubt, you could trace a touch of past fashion but mixed with modern outlook in this season. The popular colors for the year are neutral shades, sober colors and also other colors like the blues, pinks, browns and surprisingly a color like neon green. An important aspect of women fashion trends in 2010 is that heavy patterns and prints, earthly tones teamed up with bold and outrageous designs are in this year. So there is nothing wrong or embarrassing to experiment with a neutral attire, team up with bright colored footwear like pumps and jewelries to bring some color to your look. Or get yourself a gorgeous dress with huge floral or other prints all over, and team it up with patterned hand bags and stockings and hooped jewelry.

Fashion Trends 2010 in Women Fashion Wear
While the last decade saw the fashion circuit being dominated by tight jeans, the women fashion wear trends in 2010 has seen the emergence of loose pants. So go for a baggy jeans and throw on a loose kurti or tunic this year. Wearing sporting attire is also a trend in 2010. So you can see in the fashion stores, designer jogging suits and fashionable sweat pants. These two trends have clearly shown that fashion 2010 is more focused on comfort, rather than looks.

Hot ladies shorts in bright and vibrant colors have made their way in 2010. Colorful chunky jewelry and accessories and big glasses play a major role in adding glamor to your ensemble. Do not wear too short shorts so as to make yourself a fashion disaster. A sultry and sexy high dress is in for those who do not prefer to wear shorts. This particularly looks good on those who have well toned legs and skin.

Full skirts are out in 2010 and this trend has been replaced bandage skirts. In fact, the fashion designers have concluded that the the bandage skirt is the “it” piece of fashionable clothing for women for work or a night out. A fitted top gives the perfect slim figure look, accentuating the waistline. Mini skirts in neutral tones are also in this year.

Women fashion trend 2010 has also seen the casual fitted t-shirts paired with denim jeans looking good on women for that cool look. Denim jeans will never be go out of fashion. There is a comeback of torn jeans teamed with white t-shirt.

Business suits in the form of blazers and formal trousers are still in, giving importance to masculine gender dresses. This has now been extended to long length blazers with leggings or shorts, with beads and bangles for that feminine look. The knee length capris, showing off a toned calf, is also seen among the younger lot in 2010. It is decent, cool and still looks hot.

Another fashion trend that is seen in 2010 is to be bold and beautiful with some revealing styles. Long, floor length dresses are gone. In fact women are willing to go sleeveless with strong lines to look sexy just by displaying enough cleavage, and a cut at the waist defining the curves rather than being covered by wearing a long dress. The revealing fabric is in fashion.

2010 Fashion Footwear & Accessories
Fashion accessories trends in 2010 show the emergence of large accessories. Do not hesitate to wear large sized chains, striking studs, over sized chain bags, shimmering bracelets, big pendants, bold cuffs and rings. Stilettos are out this year. Instead, flat shoes, pumps, tiny heel shoes, and boots with buckles and zippers are in.