Theory of Fashion

Fashion is characterized by change, innovation and the context of place, time and wearer. Blumer (1969) describes fashion's influence as a result that involves “collective selection” whereby the development of taste is based on an ensemble of people reacting collectively to the zeitgeist , or “spirit of the times.” The simultaneous release and display of various different fashions, the choices made by the savvy consumers, as well as the idea of expressing the current mood give rise to the development of fashion. The most important aspect of any definition of what is considered to be fashionable is the relation between the product that is designed and the method of distribution and consumed.

Fashion Systems Model

Fashion research during the 20th century has been described as the model of a fashion system with an identifiable center wherein innovations and changes spread to the outside (Davis 1992). Designers operate on the basis of a single look that is one for everyone and rules regarding length of hems and how to dress with what. In this fashion the fashion-conscious public emerges from a nebulous central point, with groups of consumers who are open to ideas radiating outwards from the central. Pakistani clothes covers the all variety of fashion from classic to modern fashion.

In this system, innovation could come from a specific collection of designers, like Christian Dior who introduced the “New Look” in 1947. Influential factors vary from individual preferences as well as current events to sales and marketing. The most important aspect of the model of fashion systems is the influence it exerts that is urging, or even demandingone style for everyone. The concept of conformity is crucial.

Populist Model

A different model that is not based on the fashion system one can be one called the “populist” model. The model is described as polycentric, in which groups that differ in social class, age as well as location and culture make their own styles. This could be teenagers at a particular school or seniors in a retirement facility. Polhemus (1994) defines “styletribes” as a distinct culture segment that has distinct styles of dress and décor. These “styletribes” may create their unique looks by combining their clothes they already own, and making their own unique colors through tie-dying or painting mixing and matching old and worn-out clothes that are available at thrift shops and antique markets. They're not so much focused on one type of clothing as much as they are concerned with being themselves, even though there is a certain conformity that comes from the process that are employed and the consequent social behaviour.

The Trend of Fashion

The fashion distribution is described as a flow of flow or trickle, from one part of society to the next. The dispersion of influences from the center to the peripheral can be described as a horizontal or hierarchical terms, like the trickle-down, trickle across, as well as trickle-up or trickle-down theories.

Trickle Down

The most enduring theories of distribution are the trickle-down theory , which was first described by Veblen back in the year 1899. To work the trickle-down model, it depends on a hierarchical system of society and an effort to achieve upward mobility across the different social strata. According to this theory, a particular style is first exhibited and accepted by those at the top social strata, and then is accepted by the below them (Veblen Simmel; Laver). The distribution model is based on the social hierarchy of which people want to be identified with the wealthy, while those who are wealthy are seeking distinction and ultimately, separation from the socially less wealthy. Fashion is viewed as a means for conspicuous consumption and upsizing for people who want to imitate styles of clothing. Once the style is adopted by the less fortunate those with wealth, the wealthy will rescind their style and seek out a new one. Readymade Pakistani clothes are the best material to study about fashion variation,

Trickle across

The advocates of the theory of trickle-across assert that fashion is a horizontal movement across groups that are on similar social scales (King; Robinson). In the model of trickle-across there is a short between the time it takes to adopt a style from one group to the next. The evidence for this theory is when designers showcase a style with prices that range from the top end to the lower-end of ready-to-wear. Robinson (1958) endorses the trickle-across hypothesis in that he claims that every social group gets its inspiration from the contiguous groups within the stratum of social interaction. King (1963) identified the causes for this type of distribution, including the rapid spread of mass communication, the promotional initiatives of retailers and manufacturers and the an exposure to fashion-conscious leaders everywhere.

The Trickle-Up

The bubble-up or trickle-up pattern is one of the most recent fashion theories. In this model, the concept originates by the street, so in a way, but then then adopted by lower-income groups. The innovations eventually flow to higher income groups; therefore it is a flow from the starting from the bottom.

The trickle-up theory of distribution of fashion include an early proponent, Chanel, who believed that fashion concepts originated on the streets, and were later taken up by fashion designers. Many of the theories she explored were driven by her understanding of women's needs who wanted a comfortable and functional dress. After World War II the young found Army/Navy excess stores, and started wearing pea coats as well as Khaki pants. Another kind of clothing is the T-shirt, originally used by workers to serve as an efficient and practical undergarment, is now popular as an everyday outerwear and as a message board.

So how fashionable fashion is embraced by a particular society depends on the source of its inspiration as well as the style as well as the extent of its influence and the motivations of the people who choose the style.