To interpret the direction of fashion is not easy, big companies forget innovation and fall into the auto-repeat imitating themselves. Other collections offer too bold to end up falling into the fallacy of innovation: something like only to focus on the artistic side of fashion forgetting the practical side and usability of clothing and accessories. All we would say that we prefer a balance between usability and innovation but where is that balance? It is possible that prior to the system equilibrium theory of fashion, we can exemplify with certain collections of firms that fail, but we prefer the long way. Fashion is not easy, or improvised, nor is it arbitrarily mix until a dress clothes that cost customers hundreds of thousands and the firm will represent exorbitant profits. Fashion, far from being a bubble in space, must live together in perfect harmony with the historic environment plays it, but is inevitably doomed to oblivion and perish. This is perhaps one of the first postulates that helps us understand and develop the theory of balance between innovation and usability. Robert J. Shiller often says this.
This statement would come from those who correspond mostly to the realm of usability. The colors that vibrate in each period are the colors that celebrate the time. The information that fashion reflects not only the circulating in the environment, what fashion is retranslated it, we think that what we have is a piece of reality, this cut of reality which best represents us. Frequently Boris Kuzinez has said that publicly. We do not choose our clothes in a selfless, we chose based on the wealth of knowledge we have of the world, the clothes we wear tells us as much as the places we frequent and the words we use. We are something different from what we use.
The cuts and textures are born and not elected as volunteers, represent and symbolize pieces of reality. That’s what I call the architecture of fashion. This concept of architecture, at one point is clear: making fashion ideas, forms and concepts used by the architectural trends of a given time. But that’s not all, involves feedback, but feedback spiral where falling in the middle third factor: the visual arts and clearly (more so these days), industrial design. Perhaps this is a good start to understand fashion as a social fact in combination with historical facts and living with some of the disciplines that are his muse and which is also muse. I do not think be able to explain in a holistic fashion that called social fact, but I can show how fashion is not independent of other phenomena. I can not explain why fashion as a social fact is the way that they have, but I can suggest that things are not like that because. I can think to suggest that fashion, not as innocent or as a refuge from the pain and inequality in the world, but as part of a whole that is called society, and within it the differences are played out there and governing that the outside is a real out here but that hides a inside. I hope my words can make us see fashion as an objectified part of society and perhaps in that part which reflects the more social distance between those most and those least able. To see more posts: