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论文代写招聘:文化视角下的青年时尚

时尚被认为是一种社会差异的来源,在后现代主义对自我的关注中具有更强的针对性。在这个特定的框架下,自我被认定为反射性的项目,在这个项目中,关于流动生活方式的选择使个人能够创造自己的身份,而不是接受传统上继承下来的市场,如孝道网络或阶级地位(Van-de-Peer 2014)。除此之外,通过一个与超消费相关的框架,也存在着消费对象的符号意义背后的这种身份建构。因此,与个人相关的地位与消费能力内在地联系在一起(希勒2013)。

时尚的主要消费取向和即时的社会可见性,为探索正在建设中的文化品味和后现代身份提供了一个强有力的场所。传统上对时尚以社会工具的形式运用的理解主要集中在社会阶层的视角上。布迪厄分析了文化的审美表现,认为文化的审美反映了社会地位或社会认同的斗争。回收服装的做法在西方文化背景中有着突出的历史,由于回收服装具有明显的贫困标志,人们在使用回收服装后感到了特定程度的羞耻(Petrizzi 2014)。

然而,近年来,青年时尚在整个市场上处于劣势的角落里,被大量的年轻人利用,他们自愿地使用回收服装。在弹性工作制和可支配收入的授权下,几家商店为消费者搜寻回收服装的比例与古董店相当,目的是以低廉的价格买到独一无二的衣服。在世界各地的城市里,有几家商店出售可回收的收藏品,服务于广大的年轻人和中产阶级。

古着的自觉使用一直忽视着存在的不符合时尚潮流的社会判断所受到的威胁。回收自愿性使用者领域中所收集的回忆,并不倾向于证实在社会压力下对流行时尚的排斥,而是在利用中明确表达了利用服装作为一种构建真实性和身份的方式。

从这个特殊的意义上说,由于对基于社会阶层的不情愿行为的理解存在问题,vintage clothing为探索这些维度提供了一个独特的途径。复古时尚的变换作为自愿青年的出现有助于揭示味觉和区别是内化于个人在他们自己的生活方式(F ?老鼠2013)。

一个重要的例子是,根据热门服装网站谷歌的搜索,春季流行的薄纱裙的受欢迎程度有所上升,2015年1月同比增长34%。起源于美国西海岸的薄纱裙潮流,已开始以各种不同的色调和颜色席卷美国消费者。然而,最受欢迎的颜色包括古典经典,白色和黑色。消费者不仅表现出购买薄纱裙的兴趣,而且大多数女性都有一种灵感的感觉,想要变得更有技巧,做自己的裙子。

市场分析人士把重点放在了当前这个时代几种精明的赚钱方式上,但vintage designer的高级定制是大多数客户投资的对象。Kerry Taylor被认为是vintage haute高级定制领域的一支重要力量,她获得了几乎所有与vintage fashion相关的百科全书式知识。戴安娜王妃(Princess Diana)和艾娃·加德纳(Ava Gardner)穿过的衣服在英国多家拍卖行被拍卖(Ju 2013)。


论文代写招聘 :文化视角下的青年时尚

Fashion has been identified as a source of social distinction having more pertinence in preoccupation of postmodernism with the self. Within this particular framework, the self has been identified and considered as a project of reflex, in which choices regarding fluid lifestyles have been enabling individuals for creation of own identity, rather than the acceptance of markets that are traditionally inherited like filial networks or class status(Van-de-Peer 2014). In addition to this, by a framework related to hyper- consumption, there is consumption of objects for the symbolic meanings behind the construction of this identity. In the consequent sense, the status related to an individual is tied up inherently within the ability of consumption (Shearer 2013).
Major orientation of consumption and immediate social visibility by fashion helps in providing a potent site to explore the cultural taste and postmodern identity under construction. Traditional understanding about the utilization of fashion in the form of social tool has a major focus on the perspectives of social class. As taste expression analysed by Bourdieu, it has been argued that the taste of culture reflects the struggles for social status or social recognition. The practice to recycle clothing has had a prominent history across western cultural background, and specific levels of shame have been seen following the utilization of recycled clothing because of it salience to mark poverty (Petrizzi 2014).
Since recent times, however, fashion of youth has highly tapped within the previous corner in disadvantage across the market for the creation of large youth population engaging with the practices of recycled clothing voluntarily. Under empowerment with flexible schedules and disposable incomes, significant shares of rummage for consumers of recycled clothing by several outlets is as same as antique shopping, for obtaining unique pieces at an amount of bargain price. In cities all across the globe, there are several shops stocking collectable recycled products, serving the large populations of youth and middle class.
The utilization of vintage clothing voluntarily has been ignoring the threatened social judgment that has been in existence being non-conform to the trends of fashion. The gathered recollections in the field of recycled voluntary users do not tend to be confirming the rejection of popular fashion under social pressure, but it also expresses the utilization of clothing as a way for constructing authenticity and identity distinctly in the utilization.
In this particular sense, vintage clothing helps in providing a unique avenue for the exploration of these dimensions because of the problematic understanding about reluctant practices based on social class. The transformation of vintage fashion as an occurrence of voluntary youth helps in revealing how sense of taste and distinction is internalized by individuals within their own lifestyle (Fırat 2013).
As a significant example, as per the Google searches on trending apparel, there had been a growth in popularity for tulle skirts for the fashion of spring, up by 34 per cent in January 2015, in comparison with January 2014. Originated out of the Western Coast, the trend of tulle skirt has started to make its way across the consumers of USA in all different shades and colours. However, the most popular colours are inclusive of vintage classics, white and black. Consumers, not only show interest to buy tulle skirts, but majority of females hold a sense of inspiration for getting crafty and making their own skirts.
Market analysts have created a major focus on several savvy ways for making money in the current era, but the couture of vintage designer is what is being invested in by majority of the customers. Kerry Taylor has been identified as a major force within the realm of couture for vintage haute, gaining encyclopaedic knowledge almost about everything related to vintage fashion. Pieces worn by Princess Diana and Ava Gardner are auctioned in a number of UK based auctioneer (Ju 2013).