Category: Fashion

We all know that the first impressions are the most lasting and that we start to greet people according to their clothes. Still, some believe that such evaluation is wrong, but the things we wear are not trifles. Looking at them, one can describe a person, his or her life and character very exact.

It is commonly believed that fashion is built on a particular iconic concept that stays unchangeable while everything else is variable. A little black dress is one of them, it is said to be a necessity of every woman (A Little Black Dress). It was in fashion for a long time and seems to remain forever. That is why I have chosen it; this dress gives me an opportunity to keep up with the fashion easily.

There is a huge number of its types, so it is possible to find the one that will suit a particular person. It can be low-necked or shoulderless, with sleeves or without, open at the neck or high-necked, with a cutout back or with back-zipper (Gessner par. 2). I have taken the one that accentuates my figure and draws peoples attention away from some parts of my body that I want to improve. The belt on the waist also makes me look slim.

Moreover, one and the same dress can look appropriate for different occasions. For example, a jacket worn with this dress makes a look a nice variant for daytime while accessories and jewelry help to turn it into an evening garment. I believe that wearing a little black dress I seem to be calm and moderate, but also soigne.

In order to convey femininity, women all over the world wear dresses. It is the best variant for those who want to improve their appearance and make it more womanish. To my mind, a dress helps to avoid the masculine effect that occurs when I put on baggy clothes. With the help of a dress I can make the body curvier, which enhances my self-esteem.

The colors one wears have a great influence on the person and people around, they can even change the mood. It must be acknowledged that black clothes are not the best variant when you are going to work. Black shows that one is depressed, lazy or exhausted (Mandell par. 1). However, I prefer to believe that is color is a classic one, it suits everyone and makes people look elegant and sophisticated. Historically, we associate black with mourning, it is an ascetic color that makes people look strict and reserved.

As it was difficult to get with natural dyes, black reminds about luxury, as it connoted good social status. In the 18^th century, it was thought to be dowdy and represented people of the middle social class. Black came into fashion as a gorgeous color for an evening dress in 19^th century. It revealed the spirit of pride and recalcitrance at that time.

Consequently, a black dress includes a number of associations that were created through a long period of time, which make me feel enigmatic. Today we have a mixture of elevated and down-to-earth elements. The ability to combine contrasting ideas in the appearance makes this dress extremely attractive. It makes me look as if chic and sophisticated clothes are those I wear on weekdays in everyday life (Gessner par. 6).

According to Nancy MacDonell-Smith a black dress is a symbol of ones individuality, which shows that a woman took a decision to live the life by her own code (37). This message is the one that appeals to me, and also I wear this dress in order to reveal it.

Today a little black dress is already a term of our cultural vocabulary that everyone knows. Say it, and the image of an elegant woman with a good dress sense appears in the mind without efforts, which makes me feel special. This dress is a weapon that can easily change my appearance and mood, make me embraceable or demure, impudent or frugal.

It is interesting that this dress is adored by women so much that they even created The Black Dress Society. This is a ladies social club, which gathers women to visit upscale events, participate in charity work, and deepen into the arts.

A little black dress is a cross functional element of womens wardrobe. Depending on the clothes and accessories I wear with it, my style changes. It may vary from slangy to conservative. The type of fabrication also plays a huge role in the created image. According to the normative order, this dress is sure to be considered as a normal and decent. It is the golden mean between ordinariness and remarkability.

That is why it is the best way to show that I can easily stay in sync with the changing fashion. Wearing a little black dress, I can look wonderful in every situation, which attracts other peoples attention and prepossess them. At first I put it on as I wanted to change the style. This dress can be combined with different items and alter its message in such a manner. Thus, the dress erases the boundaries and limits and allows me to express myself, so I believe it to be the best variant for a dinner or party.

One more adorable element of womens wardrobe is a white blouse (A White Blouse). It is a classic and formal piece of clothing, which is important for the cultural and historical process and was used to differentiate wealthy people. It turned out to represent the female beauty when the Gibson Girl appeared in one. Starting with the Victorian era, the white shirtwaist was associated with neatness and chastity. Soon it became a symbol of women who referred to the working class and wanted to show their independence.

The womens white blouse or shirt has a range of different kinds; however, all of them are based on the mens formal shirt. The blouse we have today was created on the basis of a shirtwaist and a middy-blouse.

As the waist became to be considered one of the most attractive parts of womens body, the clothes were changed to show this and emphasize female beauty. It was worn with a skirt and jacket that made up a gorgeous combination. At first, this kind of a suit was considered to be an element of the clerical working woman, but soon it spread to all social classes and entered a fashion industry. Nevertheless, it also gained the meaning of poverty, as it was sewed by women who worked in poor conditions and earned little money.

The word blouse came into the language to define a sailor style shirt that became popular among women in the late 19^th century. This happened due to the reforms that allowed women to participate in the activities that were thought to be male, especially sport ones. After some modifications a blouse with a loose form appeared. It can be called rational clothing, as it followed the needs of the people of that time (Brough 7).

Up-to-date blouses became a part of womens wardrobe at the beginning of the 20^th century. They were even worn with a tie, resembling an androgynous look. They reveal the time and the spirit of the reforms and fashion changes. It is connected with alteration in social attitude towards wearing comfort and gender equality.

I strongly believe that a woman who wears a white blouse is associated with a busy and inspired person, so I put it on to look engaged and satisfied with the things I do. This garment can be made of simple fabric and be cheap. However, its luxury variant also exists. Rich in quality materials and additional elements as handmade lace or adorned collar change an ordinary shirt into an elegant blouse.

This is the variant I choose. It makes me feel important and noticeable. To look casual, I can wear it with an oversize vest and boots. Such slight disarray does not create an unkempt appearance, but shows that I am not extremely strict and inaccessible. It shows people that I am combining reserve and abandon, live in movement and can bend with the wind.

I feel very feminine while wearing a white blouse. I can choose one to my liking as it may be with embroidery, ruffles and various collars. I have bought a blouse to wear it at the college, as white is considered to be the color of wisdom. Moreover, a kind of a stereotype occurred, according to which white is associated with a uniform.

Some people can feel uncomfortable wearing white, as they do not want to draw too much attention to themselves. In such situations it is better to give preference to a beige blouse. It can be considered as a modification of a white one, as they look similar. However, beige may make one invisible and I do not want to become a mousy person. That is why bright snow-white color is the best variant for me, as it shows a self-confident person.

Thus, a white blouse reflects the values of our society. Assertive, well-educated and busy people are the ones who rule the world. Light flavor of independence and power emanates from me when I wear a white blouse. As a rule, it is not a garment one puts on from the early childhood and has it on always since that time.

It shows that I became mature and has already settled in life. In addition, I can demonstrate some personal characteristics through the chosen type of this garment. This item does not look like one that can be suitable for any occasion. It is better to put it on while studying or working. Like glasses, a white short makes me feel and look smarter and more intelligent. I wear this blouse to attract peoples attention to my personality and attainments, make them treat me seriously. While a black dress points out my appearance.

A little black dress and a white blouse can be easily called iconic items. They are the basis of modern fashion not only in America, but almost all over the world and can be considered multi-cultural. Not everyone knows their background and meaning; however, people feel and understand the same message that is produced by the clothing on a subconscious level. Of course, our self cannot be changed with the change of the clothes we wear, but the influence leaves a mark on our mind.

Works Cited

A Little Black Dress n.d. JPEG file. Web.

A White Blouse n.d. JPEG file. Web.

Brough, Dean 2013, The Classic White Formal Shirt: A Powerful Emblem of Social Change. PDF file. Web.

Gessner, Liz. n.d. Famous Characters in the Little Black Dress. Web.

MacDonell-Smith, Nancy. The Classic Ten: The True Story of the Little Black Dress and Nine Other Fashion Favorites, London: Penguin, 2003. Print.

Mandell, Lisa. What Message Is the Color Youre Wearing Sending? 2010.

State-of-the-art technologies surround the person living in the modern world. We wake up with the help of an alarm clock set on our smartphones and go to bed, watching movies on our tablet computers. Our everyday routine activities, including cooking, communicating with friends, or cleaning the house, depending on the devices making life easier and more bright.

However, though most parts of our lives are flooded with electronic gadgets, the fashion industry remains rather reluctant to keep step with the development of technologies (Ruiz and Goransson 6). While most of the designers use technologies for the purpose that are not related to fashion, CuteCircuit fashion house earns more and more fans of wearable technology. The company is gradually achieving its main goal  transforming a user into a wearer.

The creation of CuteCircuit dates back to 2004 when an Italian fashion designer and an American design engineer united their efforts to give the ground-breaking ideas to the world of fashion (About. Learn More about CuteCircuit par.1). Francesca Rosella and Ryan Genz strived for creating wearable technologies that look gorgeous and do not cause any inconvenience to the wearer since the foundation of the company(McCann and Brynson 30).

CuteCircuit creations are free of wires, massive batteries, or hard plastic pieces. The microelectronic systems used in the fabrics are not visible or tangible to the person wearing a piece of the garment created by CuteCircuit.

The path of CuteCircuit to the wide popularity has started with the emphasis on exclusiveness and extravagance of its creations. Such pop divas as Nicole Scherzinger and Katy Perry proudly demonstrated the beauty of the garments created by CuteCircuit. However, the wearable technologies remained considered more the things of entertainment than the full-fledged fashion items.

The change in the public perception of CuteCircuits wearable technologies occurred on February 12, 2014, at New Yorks Hudson Hotel (Liu par.1). That was the first time when wearable technology was featured on a runway at a major international fashion week (New York Fashion Week), and that event gave the beginning to the new stage of development of CuteCircuit.

Since then, CuteCircuit creations have been no longer considered the garments suitable for freaks or pop divas. Instead, the clothes created by the designers of the brand started to be regarded as interactive haute couture. New CuteCircuit collections combine the exquisiteness of designs with a wide variety of interactive technologies.

On the example of CuteCircuits Hug Shirt, the evolution of the approach to creating wearable technologies used by the brand can be revealed. The Hug Shirt created in 2004 featured round sensor areas and looked rather awkward (The Hug Shirt par. 6). The main aim of the creation of the shirt was to enable people to send the real feeling of being hugged to their dearest ones that are far from them (Quinn 449).

However, the brands evolution has been reflected in the newest versions of Hug Shirt. The latest versions look cute and similar to any other piece of everyday clothes we are used to seeing in the streets. Therefore, it can be said that the company has managed to find the methods of creating elegant garments that amaze both with innovative technologies been hidden in them and their attractive design.

CuteCircuit has revolutionized the way of thinking about fashion and found the key to the hearts of customers. Though it was considered a rather specific designer house is creating the garments for unique people, CuteCircuit has managed to prove that wearable technologies suit any person fond of exquisite fashion.

Works Cited

About. Learn More about CuteCircuit. n.d. Web.

Liu, June. Cute Circuit Debuts Wearable Technology at New York Fashion Week. 2014. Web.

McCann, Jennifer, and David Brynson. Smart Clothes and Wearable Technology, New York: Woodhead Publishing Limited, 2009. Print.

Quinn, Bradley. Technology and Future Fashion: Body Technology for the Twenty-First Century. The Handbook of Fashion Studies. Ed. Sandy Black, Amy de la Haye, Joanne Enwistle, and Agnes Rocamora. New York: Bloomsbury Academic, 2013. 436-456. Print.

Ruiz, David Cuartielles, and Andreas Goransson. Professional Android Wearables, New York: John Wiley & Sons, 2015. Print.

The Hug Shirt. n.d. Web.

Visvim is one of the famous vintage brands in the world. The hand behind the designs is one Hiroki Nakamura. The brand is widely known for its vintage and rugged aspect to workwear, through incorporating both American and Japanese models. While much is known about the clothesline, little is known about the founder.

Thus, this essay seeks to examine how the brand came into being, analyze the life of the founder, and how it played an instrumental role in shaping the brand. Further, being that Hiroki Nakamura is a native of Japan and yet idolizes vintage American fashion, the research seeks to establish the source of this inspiration and how the brand tries to integrate both these cultural aspects in his designs.

Visvim is a mens clothing line that was founded in the year 2000 by Hiroki, with flagship stores in both Japan and Hongkong, and its headquarters in Tokyo, Japan (Virtual Japan, 2008). However, it is also an international force with other regional shops and boutiques in both New York (Bergdorf Goodman) and London (Dover Street Market).

In comparison, very few brands match the stature of the Visvim in the clothing world of fashion. Moreover, the clothing line commands the best quality as it utilizes uncompromised materials and is woven with the best technique.

Notably, the brand was established through the idea of Japanese American workwear. Ideally, the brand became famous among the Japanese people owing to the labor-intensive approach that was put into the brand, and the street wears a result, it was positively received by the audiences in Japan (Rabkin, 2015).

The clothesline was not only a success in Japan but also among the people in the United States. In the states, the brand was famous for utilizing hand quality and for having to be in the fashion industry for the last fifteen years.

Thus, it is not surprising that the brand has gained a lot of recognition among celebrities in the United States like Kanye West, John Mayer, and Eric Clapton as these are people known to have publicly declared their allegiance and love for the brand are owing to the streetwear it idealizes (Rabkin, 2015).

Notably, the love for vintage and rugged fashion for Hiroki Nakamura culminated during the days his family lived in the United States. As a young child, Hiroki and his family would love to travel all over the globe, and it was due to the love for excursions that his family finally settled in Alaska at the time (Marcus Troy, 2013).

However, his love for clothes and designing began earlier before his migration to Alaska to study. When this designer was young, his mother would make him sort out his clothes in the closet and get rid of the old ones that he would no longer wear.

He realized during all the arranging and re-rearranging that some clothes had been made with care, yet some others were carelessly made. The things that significantly impacted him were those that were made in the 1960s.

Consequently, this young man grew up to become designed behind the face of Visvim, a business based in Tokyo, operating about ten boutiques, and having about 111 global stockists (Rabkin, 2015). The product is established using the fascination of the Japanese mind but based on the traditional nature of the American workwear.

The reason why the designer sort to utilize both the American and Japanese inspirations is that, according to him, Japan is a country if people who love things from the outside world. Notably, America is one of the countries outside the world through which many things originate. In effect, there is a high love for American products and commodities as they symbolize independent thinking. Notably, the American style is recognized as being young and eclectic.

In particular, Nakamuras love for American inspired designs was developed by watching American movies and the time he spent in Alaska as a teenager. His love for the American wear saw him collect vintage denim during his youth, though the love for the clothes was motivated by a simple, though of looking fresh before his peers.

Growing up, and owing to the love to travel by his family, his parents encouraged the young man to pursue an education in a region where people spoke little Japanese (Marcus Troy, 2013). His choice was Alaska, a decision that was arrived at following the many family trips they had made to the area, and as a result of the many activities, he enjoyed doing while he was there. These included camping, whale watching, snowboarding, among others.

After completing his studies, he went ahead to pursue a career in design at the Burton snowboard in Japan, where he gained experience working as a designer for about eight years. It is after he quit his job at the company that he went on to establish his company and named it Visvim, one that gained momentum and, consequently, expanded to become a menswear label (Ssense, 2015).

Notably, his items and designs exhibited the same craftsmanship and vintage nature he had seen and gathered while living in Alaska. However, the designer felt that he required more, not only a brand that responded to the traditional needs of the people but also a design that illuminated contemporary fashion (Cortez, 2013).

Nakamura was of the view that the only way that his brand was able to illuminate all these aspects in one brand was because he had the ability to understand different cultures. Thus, even though he uses Japanese standards in making his products for his Japanese clients, and European standards for delivering products for his European customers, the influence of the American culture prevails in all of them.

This influence emanates from the power that the American culture had on him when he was growing up as a teenager. In fact, he was highly influenced and in love with the American mens wear designer in the 50s, the 60s, and 70s (Ssense, 2015).

Ideally, these designs exhibited a form of democratic openness that the designer loves to illustrate in his designs, too, making his line come out as unique and creative. His integration and fusion of both American and Japanese blends lead to the creation of something new. This is because the designer tries to keep his eyes open to cultural influences in design.

Further, his inspiration to venture in both the American and Japanese designs was further fueled by the American workwear movement that started to take root in Japan in the 1990s (Hartman, 2015). Thus, having lived in America and gathered cultural knowledge and vintage ideas, the latter found it fit to contribute to the growing industry in Japan. It is during his time that he quit his job as a designer for the company he was working for to start making shoes.

Thus, he established his clothing line in 2001 with the creation of shoes and expanded into making clothes, certain the product he made with the same care he had seen in the vintage items he had discovered while he was rearranging in the closet (Hartman, 2015). However, his love for designs and old vintage was not to just reproduce them, but also to breathe life into them by integrating a combination of Japanese and American fusion.

Overall, Visvim is both an American and a Japanese brand. Mostly, the clothing line draws its inspiration from the experience of the American life that its founder had living in Alaska. Notably, this inspiration emanates from the free democratic spirit that the American people possess, alongside the national values they emanate.

Further, the vintage designs of the American workwear in the 1950s through to the 1970s were a great source of inspiration for his works. Nonetheless, owing to a high sense of patriotism, the founder of Visvim chose to apply these designs to his home country, being that the Japanese people love to purchase things from the outside world.

Thus, there was a desire to incorporate both the traditional aspects of his homeland while integrating the key vintage aspects of American fashion that he had discovered during his stay in Alaska. In effect, even though the brand is headquartered in Tokyo, Japan, the heart of the founder is in America, where he draws most of his inspiration.

References

Cortez, K. (2013). Shop in a caravan, The F.I.L indigo camping trailer. Web.

Hartman, E. (2015). A Japanese designer with a rugged Western aesthetic. The New York Times. Web.

Marcus Troy. (2013). People: Hiroki Nakamura. Web.

Rabkin, E. (2015). For Japans Visvim, old is the new new. Daily Digest. Web.

Ssense. (2015). Visvim. Web.

Virtual Japan. (2008). About Visvim. Web.

The time has been reversed once again. According to the latest information from the giants of the fashion industry, the 2014 Fall/Winter clothes will make the audience revisit the era of glamour. Particularly, the material and the color are going to be very strong reminders of the realm of posh and richness. Despite the fact that the return to the exquisite and expensively looking clothes is an obvious nod to the past fashion principles, the 2014 Winter/Fall Collection is going to be not a blank copy of the preexisting concepts, but their original interpretation.

A closer look at the 2014 Fall/Winter trends will reveal that the current fashion moods revolve around the concept of clarity and neat designs. Clean lines and smooth silhouettes of the new items in the Fall/Winter Collection show that the world is ready to embrace a new concept of refinement. Based on the traditional classy style, that serves as a solid foundation for daring and bold experiments, these lines allow for a new layer of expressivity to be added to the clothes.

As far as the color is concerned, the rich red, yellow and brown palette seems to be returning once again. It is remarkable that the new 2014 Fall/Winter collection features both the cold and the warm tones, therefore, mixing Aurora Red and Misted yellow with Sangria and bright Cobalt (Fall 2014: Color that Transcends Time and Place para. 36). As a result, a very exotic and at the same time relaxing palette is created, which allows for shifting the emphasis from form to function and focus on the elements that make the clothes both practical and exquisite.

The same can be said about the material. What is traditionally viewed as the elements of luxury, including silk and fur, meets the modern design in a peculiar clash, thus, creating an emotionally fueled and at the same time strong and solid fashion statement concerning the necessity to mix the innovational and the traditional in a harmonic entity. In a very weird way, fur, feathers and shearling (20 Trends for Fall/Winter 2014-2015 para. 1) blends with the modern materials, thus, both paying homage to the 60s and at the same time altering the time honored classics for the latter to fit the realm of the 21^st century.

However, when it comes to identifying the detail that identifies the new look and makes the Fall/Winter Collection recognizable, one must mention the androgynous look of the clothes. Indeed, unlike any previous collection, this one sets the premises for introducing a new and inspirational look on androgyny and the way in which it may be expressed. In other words, the epitome of androgyny, which the Fall/Winter Collection is going to feature, meets the shiny and luxurious sixties fashion in the new collection, therefore, making not only an impressive fashion concept, but also a strong social statement concerning gender roles, femininity and masculinity and their expression in clothes.

Though the summer of 2014 made a very strong statement concerning the integration of the latest views on fashion in general and clothes in particular, the 2014 fall/winter trends show that the tendency to incorporate the glamorous themes and motives of the past. Obviously updated, these elements will be integrated into the collection in order to add a timeless feel to the new and daring experiments with color and function.

Works Cited

20 Trends for Fall/Winter 2014-2015. Vogue. 2014. Web.

Fall 2014: Color that Transcends Time and Place. Pantone. 2014. Web.

Introduction

The choice of clothes is often seen as a purely functional one, which is quite an omission. On the threshold of the National Day, it is time for UAE residents to remember that the choice of clothes can help to express emotions and emphasize crucial aspects of ones identity (Jones, 2017). For this reason, the T-shirts created by Lowman Fashion Enterprises should be seen as a crucial constituent of the celebration. Painted in the National Day colors and being extraordinary comfortable, the T-shirts by Lowman Fashion Enterprises are bound to become an important part of celebrating the holiday and reminding people about the importance of unity. Read this blog entry to find out why the T-shirts by Lowman Fashion Enterprises will be perfect for wearing during the National Day!

A Way to Celebrate the National Day

As a piece of clothing that has become an inseparable part of everyones wardrobe, the item in question is quite appropriate to be introduced as an important element of the celebration. The clothes will represent unique design solutions, with the colors of the National Day being used in each item. The T-shirts are perfect for people aged 12-30 and exist in all sizes, allowing buyers to select the one that will reflect their sense of style and express their feelings for the National Day.

T-Shirts as an Important Statement

The T-shirts by Lowman Fashion Enterprises were created to express happiness and joy not only for the National Day but also for any occasion. Thus, they can be worn as an element of a casual style, a component of ones choice of clothes for the National Day, and a part of ones home-worn cloths. The T-shirts are expected to help people wearing them to express their joy, exhilaration, and excitement, which is why they can be worn in any fashion that suits ones style and emotional state. The T-shirts can be found in online shops and retail outlets for approximately 90 AED.

When Emotions Are Condensed in a Colorful Image

The T-shirts will incorporate the elements of the UAE identity and remind people of the symbols associated with their country. For instance, the color of the T-shirts could be described as limited since it will be restricted to white, black, red, and green. However, the selected colors constitute the color scheme of the UAE flag, which is why they will be used as the key colors for the T-shirts (Gueraiche, 2016). In addition, each item will contain either an image of the past UAE leader, Sheikh Zayed Al Nahyan, or his inspirational quote (Ulrichsen, 2016). The stretchable, rich cotton fabric of the product will make the T-shirts extraordinarily pleasant to the touch. The design of the T-shirts, specifically, the short sleeves and the round neckline combined with a clearly unisex shape, will make the product appealing to all target audiences.

Memorable and Fun to Wear

The history of the T-shirts creation is another reason to consider purchasing them. Apart from serving as a comfortable item of clothing that one can wear on multiple occasions, the T-shirts in question will become a fun way to express oneself. Incorporating an artistic touch and being very colorful, the T-shirts will become an instant success with both children and adults. The T-shirts will become an inspirational reminder of the National day and at the same time a unique expressive tool for the people wearing it.

Conclusion

Incorporating fashion, comfort, and inspiration in a single piece of clothing is an extraordinarily difficult task, yet Lowman Fashion Enterprises has managed to come up with a product that will surprise and inspire adults and children alike. The T-shirts created to celebrate the National day will appeal to the child within any adult, with its colorful design and inspirational images. Comfortable, cozy, and visually appealing, the Lowman Fashion Enterprises T-shirts are an expressive tool and a source of inspiration!

References

Gueraiche, W. (2016). The UAE: Geopolitics, modernity and tradition. London, UK: Bloomsbury Publishing.

Jones, C. W. (2017). Bedouins into bourgeois. Cambridge, UK: Cambridge University Press.

Ulrichsen, K. C. (2016). The United Arab Emirates: Power, politics and policy-making. New York, NY: Taylor & Francis.

Introduction

In a general sense, a fad is a desirable trend. It provokes much enthusiasm and energy for a limited period and then fades. A fad relies on popularity, as behavior or an object becomes a fad when a big number of people start adopting it. When the perception of novelty is gone, fads remain the things of the past. Fads make our life more colorful and serve as vehicles for amusement (Hoffman & Ramirez, 2014, p. 1). Fashion fads are the short-lived trends in the fashion industry that attracts the attention of a wide public and invade the fashion stores. However, they are quickly forgotten and become part of the history (e.g. scrunchie in the 80s-90s).

Fads Impact

Fads have a significant but limited impact on the fashion industry. Except for being short-termed, they have other distinctive features. Fashion fads are usually accepted by a certain group of people. For example, acid-washed jeans that were a popular fashion fad in the 80s could be adopted only by the youth and were not likely to be accepted by the whole population. Wearing flowers in the hair or putting on a t-shirt with Make love, not war were the fashion fads of the 60s that could be accepted only by hippies, and not by people working in offices and public institutions. Another distinctive feature of fashion fads is their dependence on cultural and religious attitudes in society. For example, cut tops, which are currently one of the fashion fads in the Western world, can hardly be adopted in the societies guided by religious and cultural restrictions. In other words, what becomes a fashion fad in the United States can hardly become a fashion fad in the United Arab Emirates.

One more distinctive feature of fashion fads is that they often return to the fashion industry after a significant period. For example, high-waist jeans that were so popular in the 80s and the 90s, oversized sunglasses of the 60s, and fanny packs of the 90s seemed to be gone in the past. Low-waist jeans have been dominating the fashion industry for the last 10-15 years, and a high-waist variant was mostly considered odd and funny. However, this fad has returned to our fashion market recently and is gaining huge popularity. The same story goes with oversized sunglasses, fanny packs, and many other fashion items. One more feature of fashion fads is their relation to mass culture. A large group of fashion fads evolves as the direct consequence of the popularity of certain pop singers, movie, or series. Fans encourage the creation of a big amount of fashion fads, which disappear from the market as soon as the obsession with certain mass culture phenomenon decreases. For example, the huge popularity of the Titanic movie at the end of the 90s provoked a short-termed fashion for shirts with the image of the main heroes of the movie Rose and Jack.

Conclusion

Fads can make the designers life either more interesting or tense (Sumathi, 2007). The images of old fashion fads usually look funny and strange for ours, though we were accepting them as the most attractive fashion items in the past. However, as fashion is cyclic, so are the fashion fads (Meinhold, 2013). The items we can consider now the outdated and awkward things of the past can become our new obsessions in the nearest future.

References

Hoffman, F., & Ramirez, B. (2014). Fashion and merchandising fads. New York: Routledge.

Meinhold, R. (2013). Fashion myths: A cultural critique. Berlin: Verlag.

Sumathi, G. J. (2007). Elements of fashion and apparel design. New Delhi: New Age International Limites, Publishers.

The brand Christian Dior has been one of major icons in the world of fashion. It was the brand that made women return to the concept of femininity in the middle of the twentieth century. Females started emphasizing their waistlines. It is necessary to note that Christian Dior was also the brand that promulgated A-line designs. Women acknowledged advantages of the design that have made numerous comebacks.

It is noteworthy that the brand have evolved and it have introduced new designs and patterns. The only thing that have remained unchanged is the brands desire to stress femininity. Thus, in the 1960s A-line was a hit and bright colors prevailed.

In the 1970, the brand evolved to adjust to the changes in the society. The designs changed and trousers as well as more formal designs were introduced. As for the colors, they changed from season to season and all palettes were utilized. The length of the dresses and skirts varied greatly. The famous A-line was also popular but it was often replaced by straight lines of straight legged trousers.

In the 1980s, A-line was not very popular and Dior brand (which was one of founding fathers of the design) did not use it. Loose clothes came to the fore. The brand also resorted to shoulder pads that were extremely popular at that period. As for colors, they were very different and ranged from pastel to unnaturally bright shades.

Even through the female fashion of the 1980s did not concentrate on the concept of femininity, Dior managed to create outfit that addressed this trend but still bore feminine traits. Notably, accessories were very important at that period of the brands development.

In the 1990s, A-line made its comeback again and the brand employed the design with certain transformations. Numerous details added femininity to lines. It is noteworthy that the A-line went through a number of transformation and the designs were facilitated with the help of various elements (for instance, pockets or flares, accessories and so on). As for the palettes, they were diverse as usual.

In the 2000s, the brand introduced various designs that were based on forms of previous decades. Clearly, Christian Dior did not copy some designs from previous decades but added new meanings to old lines. Such elements as flares, pockets, different waistlines and so on. Accessories also played an important role in creation of new designs.

The 2010s have been a return to classical forms and lines including A-line. Femininity is a major focus on any collection and the brand s creating new designs that are full of romanticism and style.

In conclusion, it is possible to note that the brand has been evolving throughout decades but it was still concentrated on femininity and style. Color, lines, accessories and various elements aimed at creating unforgettable images of a modern female. It is noteworthy that the brand is not afraid of experimenting and brining new life to forgotten forms.

The brand also makes use of various colors and tinges to bring new emotions and ideas. The color may be natural and pastel or unnaturally bright. In both cases, the color stresses the design and the idea of the collection as well as the entire season. Christian Dior never repeats itself even when using elements that were fashionable in other periods as it is always new and fashionable.

Introduction

An apparent gap exists between skills and job demands in the United States. Community colleges that offer Career and Technical Education (CTE) have emerged as important institutions that attempt to bridge the gap owing to their positioning in the society. This is in lieu of the fact that the demand for technical skills will continue to grow in future and in an unprecedented way.

In the United States, the number of employment opportunities that require specific technical skills will surpass 51 million by 2018 (Carnevale et al. 2010). This is notwithstanding current deficiency in skilled laborers within the country. Among career clusters that are intrinsic to CTE are fashion and artistry (Ruffing, 2009).

To that end, it is important to highlight the career pathways that fashion industry provide to post secondary education graduates. Fashion merchandising is a career pathway that connects students to careers related to fashion. It also resonates with home economics. This paper seeks to explore the history of fashion merchandising within the larger picture of CTE.

History of Fashion Merchandising

Fashion merchandising is a sub discipline of marketing that involves selling and promoting fashion designs, clothes and other elements of fashion (Conley, 2007). The sub discipline has grown tremendously over the last century owing to the apparent growth in fashion industry (Breward, 2003). In fact, fashion industry has grown in popularity all over the world.

It is important to mention that fashion merchandisers are at sometimes fashion designers who have attained technical skills from different institutions. As such, the growth of technical education particularly in the field of fashion has created a career pathway where skilled post secondary school students can enter the job market. Fashion merchandising requires impeccable skills in marketing fashion products as well as promoting them (Breward, 2003).

Further, it is essential to highlight that fashion merchandising has grown exponentially partially because of vibrant media. In fact, many students who have skills in fashion design have encountered momentous challenges relating to marketing strategies and increasing their sales revenues. As such, fashion merchandising has increased the need for knowledge in home economics as well as marketing.

According to numerous educationists, fashion merchandising has opened many career pathways for post secondary school students who have the basics of home economics (Breward, 2003). By the middle of 20^th century, the field of fashion merchandising was not popular as it is in the modern world (Perrot, 1994). The rationale is that there has existed a historical gap between technical and theoretical education in education institutions.

As such, many postsecondary graduates proceeded to join universities and continued with academic inquiry (theory) at the expense of CTE. Nonetheless, the need for CTE increased at the onset of 21^st century (Perrot, 1994). According to Swanson & Holton (2009), the profit making objectives of corporate organizations across the world have led to minimization of labor costs.

This implies that organizations and companies do not only seek to employ highly educated laborers only but also seek to reduce the number of employees as a way of remaining competitive and profitable (Swanson & Holton, 2009). Hence, there has been a shift in the labor market from highly educated individuals to highly valued technical skills.

Fashion merchandising has a history that is intertwined with fashion industry (Breward, 2003). The rationale is that the rise of fashion industry came along with the concept of merchandising. Fashion industry traces its roots in Paris, France. In the 20^th century, specific mediums of communication such as magazines had begun to publish fashion photographs leading to an increase in avenues of merchandising. It is important to underscore that fashion industry had taken route in Western Europe.

This in turn led to increase of fashion merchandises (Perrot, 1994). In the early 21^st century, fashion industry had expanded as people begun to adopt independent lifestyles. According to Perrot (1994), many people had begun to spend conspicuously on fashion and other outfits by the end of First World War. Due to the rise in demand of lavish and expensive fashion outfits, many individuals ventured in the lucrative fashion industry.

Such fashion designers as Jacques Doucet emerged to fill gaps that existed in the market (Swanson & Holton, 2009). It became apparent that fashion outfits and design required specialized skills and training. During the Great Depression of 1930s, the fashion industry was affected like all other industries but it created an avenue for self-employment and jobs.

Many unemployed people showed unprecedented interest in fashion. According to Ruffing (2009), prominent designers such as Elsa Schiaparelli remained resilient amidst the harsh economic and social challenges facing the country.

In 1950s, fashion industry had attracted many individuals, companies and other stakeholders. This implied that many people were required to meet the growing demand of fashion products. According to various educationists, education curriculum was rigid in the sense that technical education was not popular (Swanson & Holton, 2009).

Despite the increase in the demand for technical skills, public education institutions continued to offer conventional education to post secondary school education. However, many people continued to adore lifestyle and fashion in 1970s. This precipitated the emergence of many fashion destinations like Hollywood. Notwithstanding the popularity and growing incentives in the field of fashion, the gap in skilled and trained designers continued to typify the industry (Swanson & Holton, 2009).

It is important to highlight that many technical institutions had began to emerge in many parts of the world by 1980. To address the gaps that existed, many institutions started offering curriculums that encompassed fashion merchandising. This is in lieu of the fact that many students who acquired skills in fashion and design did not have equivalent skills of marketing and selling their outfits (Conley, 2007).

Although the concept of fashion merchandising was not popular by the end of 20^th century, it became clear that fashion industry would provide a platform for jobs and employment (Ruffing, 2009). Besides, trained fashion designers would benefit considerably if the acquired skills of marketing and selling their designs.

According to Ruffing (2009), fashion merchandising is typical of marketing and selling of fashion outfit and designs. The concept has expanded in the modern world to the advantage of unemployed and skilled secondary graduates. Post secondary students should use their skills in such field as home economics in fashion merchandising. The reason is that they require business skills to sell their outfits and nurture their careers.

For instance, a post secondary student who has acquired skills in fashion merchandising will be in a position to develop a clear marketing strategy that will allow him or her to sell his products in an efficient and profitable way. According to Carnevale et al. (2010), a post secondary credential is important and necessary in order to obtain a well paying job and a career. The rationale is that it is increasingly difficult for high school and college graduates to enter job market without the necessary skills.

While it is important to acquire skills through technical education, it is essential to highlight the gaps that have existed within education curriculum. By early 19^th century, there was an apparent divide in education especially between technical education and secondary education (Gonzalez, 2010). This was not only in the field of fashion but also in other technical fields.

It implied therefore that many students who graduated from high schools and colleges lacked essential and technical knowhow to make an entry in many fields. The recent efforts have focused on aligning CTE with the conventional high school curriculums and degrees. In fact, Kawamura (2005) notes that development of CTE strategies is in accordance with the need to align secondary and postsecondary technical education.

For instance, high school graduates did not receive the requisite skills about fashion merchandising during their secondary education. Therefore, they are not adequately prepared for employment in many sectors especially in the fashion industry.

The continued need for CTE has also precipitated changes in school curriculums for many schools across the United States (Kawamura, 2005). Many states have recognized the importance of ensuring that technical education has been integrated into the mainstream education curriculums. By 2009, almost all local and state governments had initiated various strategies to ensure that the apparent gap in skills (Kawamura, 2005).

Education institutions have also recognized the importance of fashion and have consequently integrated it in secondary education syllabuses (Gordon, 2008). This is in recognition of the fact that CTEs main objective is to prepare the workforce (Soares, 2010). Undoubtedly, industries and private sector have raised concerns on the gaps that exist in the labor market.

Integration of CTE in the mainstream curriculum of secondary education will increase workers readiness for careers and other avenues of postsecondary education. To enhance effectiveness in this sector, governments have collaborated with the private sector and corporate organizations to improve preparedness of students and increase relevancy of acquired education (Gordon, 2008).

In fact, there has been an increase in support for vocational and community training institutions especially from the private sector. The reason is that the private sector has comprehended the importance of equipping students with technical skills and preparing them for postsecondary entry (Gordon, 2008).

As companies aim to reduce their operation costs, it has become imperative to hire employees who have requisite skills and knowledge in order to reduce expenses associated with recruitment of employees (Soares, 2010). This is because many companies incur costs when they train new employees who lack technical skills. As such, it has become important to create synergy with stakeholders to address the apparent gap in the field of education.

As elucidated by Soares (2010), community colleges have the ability and diversity in pedagogy required to improve CTE for numerous members of the society. As such, it is important for community colleges to create collaborations with private sector in order to improve educational attainment (Gonzalez, 2010). This is in terms of high quality skills and diploma attainment.

Undoubtedly, fashion merchandising has opened an avenue through which private sector, educationists and community colleges can collaborate to increase quality of training among students (Ruffing, 2009).

Many fashion outlets and companies ought to increase their responsiveness to the gaps that exist in CTE and secondary education. The rationale is that fashion merchandising is an excellent model and a platform where the private sector and community colleges can work together to complement skills that students acquire in secondary education (Kawamura, 2005).

Most fashion schools offer postsecondary education that complement the skills and knowledge that students acquire during their secondary education (Conley, 2007). It complements theoretical education with practical skills by providing relevant experiences to the students (Carnevale, 2010). This is in the form of cooperative environment and employment in the field of fashion and design.

Secondary education, fashion schools and occupational areas work together to develop a student and benefit all stakeholders involved (Carnevale, 2010). Although many students are drawn into emerging technical careers within fashion industry, there is a whole range of other technical areas that have become popular in the contemporary world (Soares, 2010).

In particular, information technology (IT), tourism and hospitality industries have continued to provide numerous opportunities for students with high school certificates and diplomas (Kawamura, 2005). Fashion merchandising provides students and trainees with employment while at the same time improving their skills owing specialized training (Soares, 2010). In many instances, fashion merchandisers begin their occupations and careers with their chosen employer.

This implies that the employer pays for their training, which allows the student to understand dynamics of the organization. Although acquisition of skills in fashion merchandising may take long since it requires continuous upgrade of priory acquired skills, the trainees gain necessary knowledge that will allow them to succeed as employers and job creators in future (Gonzalez, 2010).

Currently, trainees and mentors who have graduated require guidance and mentorship in a huge way. The rationale is that making a transition from a trainee into an employee is a challenging process that should involve guidance. This is at a time where a trainee begins his or her career and any important decision may have long lasting effects and impacts. As such, fashion schools and community college should ensure that the trainees understand the main aspects of training and occupation entry.

According to Soares (2010), it is not enough for trainees to learn skills in community colleges without making an occupation from the training. All stakeholders should work in line with the standards of the labor market to ensure that graduates from technical schools achieve their objectives (Carnevale, 2010).

While fashion merchandising is an important technical career, other areas and sectors have dominated the modern world. As such, it is upon the trainees to choose the right technical career that is marketable and relevant to business needs.

Conclusion

In essence, an apparent gap exists between secondary and postsecondary education. CTE has emerged as a strategy to align secondary education with relevant skills in business environment. This follows concerns raised by various industries about lack of requisite skills in US labor market. While high school diplomas and certificates were essential in providing students with employment, companies look for individuals with specialized skills to perform specific jobs.

Fashion merchandising skills are important for success in fashion industry. This is in recognition of the rich history that fashion merchandising has especially regarding career and employment. As such, all stakeholders should work together to improve the alignment of conventional education with CTE.

References

Breward, C. (2003).The Culture of Fashion: A New History of Fashionable Dress. Manchester: Manchester University Press.

Carnevale, P., Nicole, S. & Strohl, J. (2010). Help Wanted: Projections of Jobs and Education Requirements Through 2018. Washington, DC: Georgetown Center.

Conley, T. (2007). Redefining College Readiness. New Jersey: Prentice Hall.

Gonzalez, J. (2010). Apprenticeship programs expand with help of community colleges. The chronicle of higher education, 57(4), 4-8.

Gordon, H. (2008). The History and Growth of Career and Technical Education in America. New Jersey: Pearson Books.

Kawamura, Y. (2005). Fashion-ology: an introduction to Fashion Studies. New York: Berg Publishers.

Perrot, P. (1994). Fashioning the bourgeoisie: a history of clothing in the nineteenth century. Princeton: Princeton University Press.

Ruffing, K. (2009). The History of Career Clusters. New York: McGraw Hill Publishers

Soares, L. (2010). The power of the education-industry partnership: Fostering innovation in collaboration between community colleges and businesses. Center for American Progress, 67(3), 34-67.

Swanson, R. & Holton, F. (2009). Foundations of Human Resource Development. Irwin: Sage Publishers.

Introduction

According to Kimmel (38), dandies and fops are men with a great passion for fashion, style and art. These men are greatly concerned with physical appearance, leisurely hobbies and distinguished language, personalities that were associated with the aristocratic fashions and lifestyles. Dandies and fops are also commonly referred to as gallant or beau. Because of their extraordinary attention towards clothes, dressing, elegancy, style and fashion, they are basically seen as gentlemen and ideal men (Nathaniel, 14-20). Dandies and fops have been linked with aesthetical personality and wearing of clothes as a form of art. This paper delves into the 19th-century use of dandies and fops in the American fashion industry, how dandies and fops came to America, and their effects on American men and Masculinity.

Literature Review

Dandyism has been attributed to a broad range of fashions, styles, and identities of the masculine. The 19th century witnessed ascetically tailored men featuring as heroic figures of power in painted portraits& (John, the Golden Age of the Dandy).In some form of paradox, the stylishly and opulently attired fops were more of figures of ridicule rather than heroic figures in the 19th-century culture of cartoons and caricatures (Kimmel, 38-59).

There was actually an ironic uncertainty between dandies and fops. While dandies were seen as historic and heroic figures, fops were seen as symbolical representations of men too concerned with clothes and physical appearance well beyond their perceived capabilities, making them appear foolish in a societal context (Kimmel, 38-59). A fop aspired to be of high social class well above what people believed was beyond him. In literature, fops have been used in drama where they represent stock characters because of their comic traits (Nathaniel, 14-20).

The fashion industry has encountered remarkably dynamic changes that have since shaped it to the current trends and designs. The dynamical changes have come about as a result of a series of events and people contributing to the fashion industry. In particular, historical events have significantly changed what originally existed into what people believed was more refined, creative, and elegant attires, the dandies and flops (Kimmel, 38-59). Whatever attires the antique generation found suitable and comfortable to themselves would later be found suitable and comfortable by others within that historical timeframe. This trend continued into other generations.

Dandies and fops were men who had rebelled against the laid down common rules which governed the fashion industry, bringing about change in the fashion arena which became the culture of the time (Kimmel, 38-59). The men that brought about changes in the field of fashion could not be stopped by normal trends or expectations of society. These men instead strived to stand out from their counterparts and peers and made a difference (Stephen, Robert Cruikshank Devastates Dandies).

Dandies were those people that had a completely different view of fashion and style culture. They shaped the fashion world by making their own fashion statements and being consistent with them until they were envied by others who strived to be like them. This caused some form of continuity to the fashion trend started by dandies at various times in history. Dandies who were also commonly known as fops among other cultures and names could vaguely be described as people who were bold enough to rebel against the fashionable trends of their time and stand out, thus bringing about significant changes in the culture of fashion in America (Stephen, Robert Cruikshank Devastates Dandies).

While the two terms were being used interchangeably and rather confusingly, they had a thin line separating them. Unlike flops, dandies were men that were more sober and refined in their dressing. This changed depending on how it suited the people at the time. These kind of dressing codes were influenced by needs and activities needs and activities people engaged in and continued to exist as long as the styles and fashions were embraced and well perceived. Fashion statements that were considered sober and practical ended up lasting longer than the ones that were merely a persons way of seeking for recognition. Both dandies and fops, or dandies and fops anyway, were men with an overemphasized sense of fashion in America. They made fashion statements that others in their time found worthy to take over and ensure the continuity (John, the Golden Age of the Dandy).

How dandies and fops came to America

The early 19^th century saw different individuals from middle to upper class in the American society consciously or unconsciously makes fashion statements that would go a long way in modeling the fashion industry. The dandyism fashion, originally from England spread with the speed of an epidemic across the European continent slowly affecting France, Italy, America among other European nations. Dandyism was represented by stylish, well dressed and well mannered men who were unusually well groomed (John, the Golden Age of the Dandy).

The origin of dandyism although having many sources, can commonly be traced back to George Bryan born in 1778 to an English butler famously known as Beau Brummell (Fashion Encyclopedia, the Dandy  Fashion, Costume, and Culture). His fashion of well cut was famously known as Beau Brummell. Beau Brummells extremely white linen shirts, loose trousers and carefully polished shoes set the pace for the current gentleman. The current gentleman is the picture of a perfect man having everything perfectly put in place. This ranges from his walking style, his elegant dressing style, his hairstyle or head gear to the games he play, his hobbies and the places he hangs out (Kimmel, 38-59).

Beau Brummells simplicity and elegance made a fashion proclamation of their own by merely being able to stand out from people around him and having a consistency with his style and fashion (Fashion Encyclopedia, the Dandy  Fashion, Costume, and Culture). This seemed to be the trend of dandies and fops who could never be seen with a style different from their own creation, thus making a fashion statement. The dandies and fop, who decided to take up Beau Brummells style apart from adopting the name Beau before their own names, were also elegant and neat making their fashion styles in their own ways (Kimmel, 38-59).

Prior to Beau Brummell dominating the 1960s was the Macaroni Club (Kimmel, 38-59). This was a group of Englishmen who had everything needed to make a fashion statement. They had wealth and youth on their side. The dandies and fops stood out by their uniqueness that set them apart from the other young men of their time. They all had flashy and extravagant golden jewelry to accessorize their dressing; walking sticks designed to stand out and could always be found with their unique accessories when in public places. If there was one thing that made dandies and fops that they were, it was because of their uniqueness and consistency. Most dandies later adopted the name Beau from their founder Beau Brummell (Kimmel, 38-59).

The beginning of the 19^th century actually witnessed the birth of an entire new breed of dandies, the dandizette in America. Their devotion to fashion, fabric, elegance and clothing was the same as that of their male counterparts. The dandizette was the female version of the dandy. Unlike their male counterparts who operated by individual whims to create fashion statements that made them dandies, females had rules (John, the Golden Age of the Dandy). The dandizette obtained her code of conduct and guidelines from the founding queen of fashion, a Lady of distinction. Ladies of distinction had laid down rules for young women to mature matrons. The guidelines would also go from morning wear, evening wear, dinner wear, and clothing for outdoors and indoors to how long the sleeves and the accompanying gloves would go on the arm.

This era of dandyism in America also did not leave the children behind. Children were involved in the fashion evolutions of the time. Their fashions were made to resemble that of their older version, therefore making the process in miniature adults. Children could make in their dandies and fops with the intention of upholding high standards of cleanliness, neatness and perfection. This was an extremely hectic schedule for a child but it was made possible by their care takers. This dandy trend made it easy to distinguish a child from upper social class, middle social class to the lower social class of peasants who were mostly servants. The younger girls despite having to be the miniature women were given a distinction. They were to wear softer colors of the fabrics they wore. These softer colors were to include pink, yellow and other soft colors. These contrasted with the colors of the fabrics worn by the matronly older women. The older women could wear dark colors like black and purple (John, the Golden Age of the Dandy).

Dandies and fops lived to create their fashions and aesthetics by going beyond the fashion trends of the time while the dandizette spent their lives obeying every rule in the fashion book in order to keep up the prevailing culture of fashion (Fashion Encyclopedia, the Dandy  Fashion, Costume, and Culture).The dandies could afford to be more rebellious since during that time they were not governed by as many rules as their female counterparts were. This could be because during that time in the period between 18^th century, and 19^th century, there were no female empowerment policies that would result from the later days evolution to bring gender equality.

Effects of dandies and fops on mens fashion and masculinity

Dandyism is the fashion trend, culture behavior, mindset or characteristic that was attributed to the individuals or people who were considered dandies and fops or who considered themselves so. Dandyism is basically the evolution of the western culture with a particular bias in the male fashion. The word dandy only briefly included women in the early 19^th century with the coming of terms like quaint which evolved from coint that represented the meticuility and perfection of its subjects (Kimmel, 38-59). The term dandy, however, latter would only stand for males who were extremely elegant and perfect. It could represent the origin of striving for male perfectionism which brought about many debates and opinions on which the perfect male was the masculine man or the elegant delicate male.

Dandy males have evolved in three stages since their conception in the late 18^th century. According to Kimmel (38-50), the birth of dandies in America in the late 18^th century was shown in the period between 1760s and 1780s with fashion legends like Beau Brummell and the Macaroni club representing the dandy dynasty. The dandy breeds of this time were brought out by their physical appearances that were orderly stylish, glossy, including their waxed hair, white linen shirts with collars and very tight breeches (Kimmel, 38-59). These were men who walked with canes and never left their snuff box behind. The men in this dandy era were meticulous and consistent in their fashion. They were after developing the portrait of the perfect male outfit that represented their inbuilt mindset of perfectionism (John, the Golden Age of the Dandy). They showed high discipline like the medieval women having different outfits for different functions.

A typical dandy man would have more than three outfits in a normal day. Like their female counterparts they would have clothes for the outdoors, indoor clothes. They would also have to change in order to attend different events during their day. These would range from ridding, travelling, strolling and attending parties and meals. These outfits were made complete with their own accessories which include canes or walking sticks, pocket watches and snuff boxes. Their accessory would vary with their dress code making their days to be quite hectic. These men also had a particular taste for clothes making them have so many clothes in their possession(Kimmel, 38-59).

Before the dandy males came into existence we had the pre dandy era. These were men who gave birth to the dandy men. These men together with their cultures and customs existed before the American dandies and fops and became their forerunners. Some, however, existed along with the dandy and fops men since they could not embrace the dandy culture. These were extremely conservative men who were rigid in exploring new fashion trends. They were men who were spotted wearing powdered wigs. These men could be told apart by their unfashionable Tricorne and bicorne hats.

The pre dandy males existed in the period of early 18^th century and the time before it. The men never took much interest in their looks. Their extremely lacy and embroidered clothing were completed by breeches that were short and could not reach the level of the boots they wore. These formed the most of the pre dandy fashions in the late 18^th century up to the early 19^th century, abandoning fashion for more serious and conserved men, who were either too old to enjoy new fashion or too busy and preoccupied to start chasing the whims of enticing fashion trends (Kimmel, 39-50)

Post dandyism era was symbolized with the ridicule associated with the term dandy, that is, the fops. A fop was seen as person seeking extreme superiority over the people around him. He strives to show this by setting himself apart by living a lavish lifestyle (Stephen, Robert Cruikshank Devastates Dandies). The lifestyle of fops was characterized by wearing of clothes according to an event and a time of the day or continually carrying around their princely canes and snuff boxes which was considered as showing off. Though this behavior was more refined to the high class personalities only, it spread to middle class (Kimmel, 38-59). The traits of all fop individuals were that of high class people seeking to set themselves apart from the other normal people and somehow be superior to them. This notion caused men to start swaying from dandyism with most of them seeing the lifestyle of a dandy as extremely hectic. They probably found it hard to keep up with the lifestyle of having to move between several changes of clothes for different occasions in a day, carrying their snuff boxes and canes everywhere a little too stressing for the ordinary man. Dandyism came with being extreemely neat, clean, organized and had a high price tag of extreme discipline (John, the Golden Age of the Dandy).

Discussions

The men in post dandyism era may have failed to appreciate the fact that the dandy and fop men like Beau Brummell made important contributions to the current fashion culture and trend that is no longer considered dandy or flop. An example being the tailored suits and collars fixed on shirts that were as a result of dandies being obsessed with neatness and cleanliness. The hairstyle also changed from powdered wigs to sleek oiled hair. To some extent the modern male fashion is a careful merge between the dandy man and the pre dandy male (John, the Golden Age of the Dandy). This has been done with sober practicality to avoid the extreme characteristics that brought these groups to extinction and picking only the practical bits that fit in their activities and needs.

Evolution of the dandizette has on the other hand seen the confused shift between overdressed and underdressed. The confusion is because the dandizette in the era of dandyism considered wearing clothes covering the neck up to the chin as being overdressed at specific times according to instructions from the lady of distinction. In the contemporary society, this can be deems as exposure of the area extremely below the neck as being under dressed. The question therefore remains when is too little too much or too much too little. Different societies and eras in time tend to have their unique definitions of these two confusing terms in the female and male fashion evolution, too little or underdressed, or too much or overdressed(John, the Golden Age of the Dandy).

The trends over the years seem to have borrowed so much from the dandy pioneers, especially Beau Brummell who can be safely considered as the father of fashion. Beau Brummell in his fashion statements of his time stressed on simplicity, neatness and cleanliness of whatever fashion one saw well (Kimmel, 38-59). His own touch of consistency brought out what the today fashion conscious individuals seem to strive for, the aspect of making your fashion statement your personality. According to (John, the Golden Age of the Dandy) his perfectly tailored breeches well shone boots, white linen shirts that was bleached by only specific launders he himself figured. This was a man who was extremely meticulous, organized, and very neat. He left no room for errors in his life as well as in his clothing, an icon of reference to the subsequent American generation of the male gender and culture (Kimmel, 38-59).

The fops could be considered to be people who had some sort of psychological issues. These people would strive to obtain superiority by their actions and after being superior would emphasize this fact. They now obtained this psychological satisfaction by using their speech, mannerism, and behavior to show their superiority. They eventually showed off their superiority by having a specific style of dressing and changing quite often only to show people exactly how superior they were. Most fops were therefore likely to be extremely rich or influential people. Apart from this enabling them to keep up their dandy lifestyle, it helped them to exert their influence on people. The people found to be dandies or fops were more often than not political leaders of their time, noble men, kings and princes and extremely rich people, some were considered lords.

The dandies that came after Beau maintained the standards he had set for cleanliness, neatness and order and in their own ways found new tricks of standing out but remaining elegant and reserved. The dandies and fops were also always cool, conserved and somehow aloof. They had trained themselves to have cool mannerism in their speech, actions and general behavior. They would rarely break their manners and always maintained a distance and cold attitude towards others around them. They practically worshiped themselves and viewed virtually anything less of themselves as useless.

These people with their behavior and mannerisms had great influences on the current view of a fashionable individual. The todays world that seeks perfectionism models after the medieval dandy is represented by a man who places more importance on appearance.

Conclusion

American men of today are perhaps not aware of the fact that they are constantly modeling after the medieval dandy who they publicly dislike but privately worship. Be it the modern day lawyer, the business man or even the student, they all strive to be dandies subconsciously and condemn the behavior of dandies consciously. Like wisely, the female fashion-stars can attribute their current trends to medieval women that saw evolution of female wear and clothing to dressings that were as comfortable as they were fashionable. Unlike their male counterparts, female trends have been more rigid, being governed by some rules and guidelines to be followed.

References

Fashion Encyclopedia. The Dandy  Fashion, Costume, and Culture: Clothing, Headwear, Body Decorations, and Footwear through the Ages. Advameg, Inc.

John, Peale. The Golden Age of the Dandy: Vanity Flair. Dandyism.net.

Kimmel, Michael. The History of Men: Essays on the History of American and British Masculinity. SUNY Press.2005.pg 38-59.

Nathaniel, Parker. The New York Mirror: A Weekly Gazette of Literature and the fine Arts. Vol 1.G.P. Morris: University of Chicago.2009.pg.14-20.

Stephen, Gertz. Robert Cruikshank Devastates Dandies. David Brass Rare Books. 2010.

Trend Message

The two stores I visited at the South Coast Plaza are Nike and Lululemon Athletica. Both brands produce sportswear for a wide variety of sports, such as running, yoga, and gym. The overall trends in the stores are quite similar, with a prevalence of tight-fitting clothes made from innovative materials that are breathable and lightweight.

Both stores have a range of prints and colors available to choose from so that every customer would find something to suit his or her taste. The window displays of the stores, however, are different. Lululemon Athleticas window display presents different styles for family members in an effort to build a family brand picture. Nike, on the other hand, has only a few adult mannequins with similar styles on: bright top and sneakers, plain classic tights.

Trend Overview

With more and more people engaging in sports on a regular basis, sportswear has become nonetheless important than everyday clothes. Many people see sportswear as a chance to show their individuality, which is why virtually any trend can be translated into the target market. For instance, WGSN Insider indicates that cultural sharing will be one of the trends S/S 2018 season will bring (par. 9). This means that ethnic prints may become popular among the designers, which will definitely impact sportswear. Another future trend indicated by CSI is sunbaked rebel, which will bring a range of light-hearted colors, such as pink, yellow, and mossy greens (par. 4).

Bright colors are especially popular in active people, so this trend will likely suggest new color combinations to the sportswear market. Finally, Feitelberg suggests that genderless dressing will continue to attract the designers minds (par. 7), which, in the case of sportswear, will most likely mean more loose-fitting styles for women and a wider range of colors for men, as well as unisex designs. For instance, most of Nikes sneakers and shoes come in a wide variety of sizes to suit both men and women. While some items, such as sports bras and tights, cannot be made unisex, other tops and bottoms may become unisex, regardless of their silhouettes, prints, and colors.

The F/W 2017 Fashion Weeks were also full of new trends that may be translated into the sportswear market. For instance, Carreon discusses the power red and floral prints as some of the main highlights of the seasons fashion shows (1, 13). Red is one of the most eye-catching colors, and all-red looks may become popular among people who practice active sports. Floral prints, on the other hand, offer a calm and natural look, which is ideal for yoga practices. George-Parkin, on the other hand, addresses the rising popularity of sheer fabrics (9). Sheer fabrics are lightweight and breathable, which makes them a great option for sportswear. Pieri draws attention to metallic-colored fabrics, such as gold and silver (28). Whereas glitter fabrics may be too heavy for yoga practices, gold and silver-colored tops may be among the next top trends.

Target Customer

Both stores have a variety of customers of different ages and genders. However, there is a prevalent customer group that has a strong preference for the two brands. These are young females, aged 18-30, who are fit, live an active lifestyle, and are influenced by popular culture. As the two brands are far from being the cheapest sportswear options, these women also have medium to high income and are able to invest in their hobbies. They also appreciate good quality of clothes and technological advances, such as innovative fabric, stay-dry technologies, and more. Regarding clothes choice, they do favor clothes that are specific to the type of sport they practice, as they are looking for the clothes would not be constricting and attractive at the same time. Customers from this group are mostly urban residents that are actively involved in their work and social lives but spare time for hobbies and sports.

Price Structure

The three key products in womens yoga section offered by the brands are sports bras, tops, and tights. In Lululemon Athletica, bra prices range from $48 to $78 depending on the style. In Nike, sports bra prices are from $17 (on sale) to $75. In both brands, yoga tops prices range from $30 to $100+ for tank tops and t-shirts. In Lululemon, yoga bottoms start from $88 and the most expensive model is $108. In Nike, yoga bottoms range from $29.97 (on sale) to $160.

Merchandising Strategy

Both brands make clothes for different sports. Whereas Nike focuses on running, Lulu Athletica has more yoga-specific products available. In both shops, there is a slightly wider choice of tops, with the overall store top to bottom ratio being around 60/40. In Lululemon Athletica, between two and five color options are offered for most tops models, whereas in Nike there are more individual designs with up to 4 color choices. Similarly, in bottoms, Nike has a wider choice of models with limited color options, whereas Lululemon Athletica offers fewer models with more colors and prints to choose from. Various types of items are promoted, but they are usually rather plain in design and not as attractive as the more expensive models.

Works Cited

Carreon, Justine. A Complete Guide to Fall 2017s Top Runway Trends. Elle, 2017.

Color Solutions International, Inc. (CSI). Spring / Summer 2018 Trend Analysis. CSI Colors.

Feitelberg, Rosemary. Spring 2018 Fashion Trend Predictions: Sleeves, Sculptural Design, Rei Kawakubo. WWD, 2016.

George-Parkin, Hilary. The Top 12 Trends from New York Fashion Week Fall 2017. Stylecaster. 2017.

Pieri, Kerry. The Top 14 Trends from the Fall 2017 Runways. Harpers Bazaar. 2017.

WGSN Insider. WGSN Presents The Most Influential Trends for S/S 18. WGSN, 2016.