Fashion involves novelty, change and the context of place, time and wearer. Blumer (1969) illustrates fashion impact as an ongoing process of collective selection whereby the formation of taste derives from a group of folks responding collectively to the spirit of the times. The simultaneous introduction along with display of many new styles, the selections carried out by the innovative consumer, not to mention the notion of the expression of the spirit of the times provide impetus for fashion. The relationship between the designed product and how it’s distributed and consumed appears to be central to any definition of fashion.
In the 20th century, the study of fashion has been framed in terms of a fashion systems model with a center from which modifications and innovations keep radiating outward. Designers are used to working from the premise of one image, one look for all, with rules about lengths and what to wear and with what. The given model suggests that the fashion-consuming public develops from an innovative core, surrounded by receptive bands of fashion consumers, who radiate outward from the center.
Within the system, innovation originates from a select grouping of designers, including Christian Dior. In 1947 she introduced her ambitious New Look. Influential factors normally range from individual tastes, current events, to sales promotion and marketing. As for the ultimate qualifier of the fashion systems model, that’s the scope of influence demanding one look for all.
We should stress that the fashion systems model has an alternative. That’s a so-called populist model. It can be characterized as polycentric. This simply means that groups based on differences of age, culture, location, socioeconomic status form their own fashion. Such groups might include teens of a certain school or senior folks in a retirement community. When talking about fashion we should also mention so-called styletribes. We can define this stuff as a distinct cultural segment, generating a distinctive style of dress as well as decoration. Styletribes are capable of creating their own looks by simply combining existing garments and creating their own unique custom colors via painting or tie-dyeing, mixing, painting and matching from previously worn as well as recycled clothing available in thrift shops and also vintage markets. They aren’t so concerned with one universal style of dressing to express themselves, although there’s an element of conformity deriving from the processes employed and the resulting social behavior.
Fashion involves novelty, change and the context of place, time and wearer. Blumer (1969) illustrates fashion impact as an ongoing process of collective selection whereby the formation of taste derives from a group of folks responding collectively to the spirit of the times.