Fashion, Lifestyle, and Consumption and Their Influence on Identities Essay

Pages: 7 (2123 words)  ·  Style: Harvard  ·  Bibliography Sources: 8  ·  File: .docx  ·  Topic: Business

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This is because they present the values of the traditional societies and have an inherent meaning of the society. Fashion designers often pick on these traditional values and dressing and put them into a piece of attire that creates the national identity.

Scholars have argued that the contribution of the different cultures of a country into the national identity created in fashion is important in the acceptance of the garments overall. By excluding other communities or groups, the fashion designer will be taking a position about the national identity that often negatively affects the acceptance. However, there is need to balance the societies, communities or groups because including too many will bring a conflict in the fashion attire. One solution to this is the African print that is often associated with African nations. This is a print or fabric that is made from tie and dye and is unique to African communities. While western fashion designers have obviously made some of these, these are still symbolic of African heritage and represent a form of national identity for the African continent Wurst, 2005()

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The Maasai of East Africa also have traditional fabrics that are unique to their community. These are often the national identity of the East African countries and have been the source of inspiration for designers such as Louis Vuitton, John Paul Gaultier, and Yves Saint Laurent. These designers have created collections inspired by the East African maasai community collection. Anyone seeing these designs can easily attribute them to East African communities Wipper, 1972()

TOPIC: Essay on Fashion, Lifestyle, and Consumption and Their Influence on Identities Assignment

The presence of a national identity is based on the argument that communities in one nation have attributes which they share and which are distinct to them. This is seen in the maasai community whose fabric and attire is representative of the community's culture, language, religion, history, customs, rituals, territory, and ceremonies. These present the elements that evoke the presence of a national identity. However, the national identity has often changed with time as the culture, territory, and rituals of these communities evolve.

Conclusion

Fashion is used as a tool to portray the identity of an individual. It portrays the emotional, physical, psychological, and social aspect of the individual through expressing their mood and feelings. Fashion is also used to portray a national identity that drives the unique values of the country. The use of fashion as a tool to portray identity is more proliferated by women than men. This is majorly because fashion in dominated by women and often taken more seriously.

References

CRAIG J. THOMPSON & DIANA L. HAYTKO 1997. Speaking of Fashion: Consumers' Uses of Fashion Discourses and the Appropriation of Countervailing Cultural Meanings. Journal of Consumer Research, 24, 15-42.

KHAIRE, M. 2011. The Indian Fashion Industry and Traditional Indian Crafts. The Business History Review, 85, 345-366.

KINNEY, L.W. 1999. Fashion and Fabrication in Modern Architecture. Journal of the Society of Architectural Historians, 58, 472-481.

LOUGHRAN, K. 2003. Jewelry, Fashion, and Identity: The Tuareg Example. African Arts, 36, 52-93.

MCROBBIE, A. 1997. Bridging the Gap: Feminism, Fashion and Consumption. Feminist Review, 73-89.

MILLER, C.M., SHELBY, H.M. & MANTRALA, M.K. 1993. Toward Formalizing Fashion Theory. Journal of Marketing Research, 30, 142-157.

SUMMERS, J.O. 1970. The Identity of Women's Clothing Fashion Opinion Leaders. Journal of Marketing Research, 7, 178-185.

WASSON, C.R. 1968. How Predictable Are Fashion and Other Product Life Cycles? Journal of Marketing, 32, 36-43.

WIPPER, A. 1972. African Women, Fashion, and Scapegoating. Canadian Journal of African Studies / Revue Canadienne des Etudes Africaines, 6, 329-349.

WURST, K.A. 2005.… [END OF PREVIEW] . . . READ MORE

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