In other period, fashion in
modernization depends on social norms, individual, self-expression, technical
opportunities and initiative of the fashion designer. Fashion, even in it’s
aspects of crafts, faces the same task as the artist who produced modernism,
namely to bring together a place for the individual in an progressively more
complex society.
One could be stylish,
traditional as well as original (expression of unique
self). Therefore, exaggerated clothes, which may look like parodies, assert a
part of the self and make a person feel at home in a mass society.
Society identity manifested
in wealth of messages corresponds better to the social condition of modernism
than the older condition based on social class. They allow the individual
expression of some aspects and become prominent or well known for it.
Fashion, described to be an exertion of an individual’s
ability of self-expression without social guidance, by making it possible to
assert only some areas of the self and not the self as integrated into social
atmosphere. Fashion also gave leeway to over assertion of certain
peculiarities, especially by incorporating verbal messages into fashion
designs, as it could not transmit much socially recognized information, fashion
like other modernistic forms gave prominence to the form of message for its own
sake.
Dressing is a basic fact of social life and this is according to studies, which is true of all known human cultures. They say, the way you dress, are ways of how you express your self, feelings, outlook and social conditions in life, in which in some aspects it may be true but not to all. It does not necessary mean you are a “low class” individual if you dress simple, vague, or a “high class” if you wear rather an extravagant and fancy wardrobe. Other facts may also prove your originality; it may be odd or uniquely in style, or rebellious expression in terms of fashion. Most of our designers simply play with the ups and downs of our fashion times, and our fashion “giant” explores them differently.
The outstanding
designer’s expressive ways in style:
JEAN PAUL,
TESSORI
UOMO, ALBERTO CELINI
of ITAL SUIT has been
fascinated with the functional fit our top designers possesses and so we have
designed our formal
wear to be as comfortable and functional, just like the relaxed
sportswear fitting, learning from the high-end and famous designers, at the
same time keeping our originality. Our business has been established
and continuously explores all sorts of fashion in men‘s wardrobe,
however keeping the classics
and exploring the fashion
colorful zoot suits. Now being the sophomore in this men’s suit
line, we are striving to continue aiming for perfection, mentioning the top
designers of our time, that continuously plays the role model of several
aspiring neophyte designers, that continuously adores and the wonders of our
fashion world. The most glamorous of our new giants are the luxury
conglomerates, a different breed from the recognizable corporate collections of
apparel companies that have been with us for so long, well- known and a role
model to us all fashion experts that aims to achieve and to level with their
standards.
v
JEAN PAUL GAULTIER- (Council of Fashion designer
of America, International designer of the year 2000), has the bad boy of
Parisian fashion using his
considerable dress making and
tailoring skills to produce irrelevant
send-ups of the fashion establishments.
v
NICHOLAS GHESQUIERE- (Council of Fashion Designer of America,
International Designer of the year 2001), his clothing styles may range from elaborative patchwork minis
to rugged leather jackets and he has
developed following of young
fashionables particularly of his fitted
trousers. “Ghesquiere”, a has the emphasis at “Balenciaga Le Dix” from
evening and today’s clothes, a “Balenciaga” style of the 1940’s & 1950’s
v
MARITHE & FRANCOIS
GIRBAUD- The champion of relaxed sportswear, established their
business in 1965, clothes for both men and women, that seem totally
unobstructed but are more complex than they appear & entirely functional.
v
CALVIN KLEIN (Hall of Fame ,1975 ;special awards, council of
Fashion designer of America, Best American Collection)
v
MICHAEL KORS- (Council of Fashion Designer
of America, International Designer )
v
RALPH LAUREN
v
GUY LAROCHE
v
LUCIANO SOPRANI
v
LOUIS VUITTON
v
GUCCI
v
PRADA
v
CHANNEL
v
SALVATORE FERRAGAMO
v
YVES SAINT LAURENT
v
HUGO BOSS
And a lot more outstanding
designing giants that keeps the fashion industry amazingly explorative, and
competitive. It simply gives us the notion that fashion does communicate. Things
may be a little tougher for designers who are starting out. Tessori has continuously kept
his aim straight, being a newcomer, now a sophomore; it may have been a stiff
competition, thus having a hard time attracting conglomerates attention,
although with a strong personality.
Other few techniques formulated to fasten the progress and succeed in
time.
The Politics of Comfort: Comfort means in different
context
For men, however the rejection of accepted patterns of masculinity may mean subjecting oneself to exactly those technologies of the body from which feminists have struggled to liberate and free women.
In our designer’s point of view, fashion and clothing are therefore problem solving of a culture and so continuously they always perform a open or expansive function.
As a designer, you’ll need to be able to understand who will use or appreciate your designs as well as how they will use it. In other words, you will need to know what the market you are designing for and the “wants” and “needs” in the product you are designing. Tessori, has ways in expressing his clothing lines. There are certain theories that he takes in consideration to meet the market’s demands. The main priority is the idea of comfort and authenticity. In comfort, several men when dressing, they have their “ going out” and “staying in” clothes, such that it expresses motivation in their choice of clothes, and the ideal of comfort that men wears, which would be the most comfortable and functional wear.
In terms of “labels”, when we look at the clothes that
people wear and if they look nice and comfortable, we then choose to wear the
same, and so we purchase them. Thus, what it describes as an acquisition for
comfort we now discover to be highly convenient purchase precipitated by a
fleeting of flirtation in highly specific location. The social meaning of such
purchases is perhaps reinforced. In our
minds, as a consumer, it had to be a specific well-known brand.
Fashion enunciates identity. The fact that you have to dress right, reiterates the issue of access to capital and credit as crucial determinants of who can wear what and thus who can be what.