Posted at 10.31.2018
Fashion is definitely a representation of the collective awareness and unconsciousness of world. In politically traditional times, fashion displays the staidness of the majority, but also the subversive components of the minority. No less a controversial body than King Louis XIV of France was rumored to own said that fashion was a mirror. Music, films, and television set, all powerful pop culture mirrors in their own right of the anxieties, desires, and dreams of any culture, all collectively form a synergistic romance with fashion, each informing, influencing, and cross-pollinating the others in various changes. Fashion is also a pop culture manifestation of the intellectual and ethnical style of postmodernism. Fashion is determined by newness; summer, fall season, winter, spring and coil are conditions that appear inexorably every year, and with them, the demand for new fashion lines. The inexhaustible craving for food for new ideas and inspirations in fashion and other pop culture arenas leads inevitably to cannibalization, plagiarism, re-contextualization, and re-imagination of ideas past and present - the essence of postmodernism. If we review the scenery of where pop culture and fashion have been, we can to some extent forecast the elements which might define where it will go, though in the postmodern universe of the 21st century, it is hard to forecast what incarnations should come to complete.
Fashion is the byproduct of the leisure contemporary society that has transcended many of the basic human challenges on the lower level of Maslow's Hierarchy of Needs. Most people in prosperous Traditional western nations are luckily enough to lead lives in which the acquisition and/or maintenance of food, shelter, and clothing is not a struggle that consumes their life, as is regrettably true in many African countries, for example. Free to ponder this is of their lives and the many ways that it's possible for humans expressing their interior thoughts and emotions, residents of the leisure society began to use fashion as a setting of self-expression and reflection of any number of zeitgeists of their own time. As far back as the 1700s, French women consulted magazines to learn the latest fashion trends. Sketch artists were within royal courts to be aware of the fashion options created by the ruling classes, and communicated these ideas to dressmakers across the nation, who in turn crafted facsimiles for individuals who could actually find the money for such fashion mimicry. The French have historically kept a special place in the fashion universe since this time.
As the 1800s and 1900s saw Western societies advance from agrarian societies to commercial societies, with the concurrent increase in wealth and disposal income, the give attention to and indulgence in fashion increased. Along with the introduction of pop music, most notably rock-and-roll in the 1950s, and tv set, teenagers all over the world saw the likes of Elvis Presley and his gyrating sides, causing a global fashion sensation. Guys everywhere started to sports white t-shirts (in whose sleeves the more raucous ones rolled packs of cigarettes), blue jeans, and grease their scalp. Celebrities from the arenas of music, film, and then television set became the new royalty, the new elites, for European cultures, and the fashion tendencies they embodies became inspirations for hundreds of thousands in each successive technology.
The messages of rock-and-roll became more technical, subversive, and powerful in the 1960s, matching with the United States' controversial entry into the Vietnam Conflict and a wholesale rejection on both edges of the Atlantic of many of the traditional prices of the Cool War period. The Beatles's change from fresh-scrubbed, feel-good bubblegum pop to psychedelic and metaphysical subject material influences a new group of fashion styles which shocked the Establishment to the center. Women and men everywhere began using colorful (both basically and figuratively), outrageously expressive, and even outlandish fashions, and allowing their scalp to develop long.
The exhaustion from the myriad political and socio-cultural revolutions of the 1960s, and the stagnant American economies of the 1970s offered way to a culture preoccupied with escapism and simply having a great time. Sit-ins and political protests offered way to champagne-filled boogie times. The flower-power psychedelia fashion developments of the later 1960s and early 1970s provided way to the groovy leisure suit styles motivated by the music tendency of disco that used the entire world from roughly 1976 to 1980 and cemented by the global package office phenomenology of the film Saturday Evening Fever, starring John Travolta and featuring a soundtrack filled with disco hits written by the Bee Gees. The tight-fitting and well-cut suits worn by Travolta, and the sexy, stylish dresses and pantsuits of the ladies in the film influenced millions to change their wardrobes appropriately. For the tail end of the disco time came a short but effective preoccupation with cowboy fashion, inspired by the peculiar utilitarian clothing from the North american Old Western - cowboy boots, solid blue jeans, ten-gallon cowboy hats, etc. , again propelled in to the collective fashion awareness of the world by another hugely successful film, 1982's Urban Cowboy.
At the same time the fashion styles influenced by disco and cowboy culture were dying away, the world of the politics again profoundly influenced the universe of fashion. The elections of traditional politics figureheads Margaret Thatcher in Great britain and Ronald Reagan in the U. S. sparked a schizophrenic revolution in clothing and music: as economic recoveries were designed on the backs of the working poor, the culture that proclaimed "greed is good" took to reveling in the using conventional, yet expensive or even shocking clothing - furs, for example -- which reflected the frame of mind of conspicuous use. Simultaneously, those ethnic elements who weren't profiting from the economic increase were rebelling from the conservative establishment styles and adopting controversial styles embodied, for example, in the slut-chic clothing popularized by the music and videos of Madonna. Music videos, a fresh invention in pop culture and institutionalized by the power of MTV, became a fresh display for outrageous fashion statements in the 1980s and beyond.
The greed and spiritual individual bankruptcy of the 1980s offered way to the hippie nouveaux culture of the Earth-and-cause-friendly early-to-mid 1990s, and then to the greed nouveaux culture of the overdue 1990s, spawned by the remarkable economic development of the web boom. By this time around, pop culture acquired started to liberally cannibalize itself for new ideas, having worn out much of its potential for true originality. As technology and civilization continue their exponential advancement of consumption, genuinely original ideas become more and more difficult to generate, leading fashion designers to acquire from previous ideas, to combine hitherto uncombined or un-combinable ideas, as evidenced by the infamous word "What's old is new; what's new is old. "
The early on 21st Century is a time of profound doubt popular, with a myriad of recycled influences fighting for the crown of the next hot fashion pattern. The natural self-referentiality and cannibalism of post-modernism, however, helps it be nearly impossible to predict which trends will need hold so when. The next decade can make for a remarkable amount of time in the universe of fashion.