Fashion and Its Influence on People - Article Example

Fashion and Its Influence on People When attempting to appreciate how a person’s identity is influenced both as a factor of how they define themselves and how others define them, it is important to understand a person’s choices in temporary external appearance, such as in the selection of fashion. Is it possible for a simple change in wardrobe to have a profound effect upon a person’s identity, mainly women, both as they are perceived and as they perceive themselves? This premise is the foundation for a number of ‘make-over’ television shows that promise a new life as a result of following simple tips and tricks from ‘fashion experts’ who will make the most of the person’s figure as it exists, so it is important to determine whether this type of premise has any merit. The external perception has an undeniable effect upon the inner identity of a people, a perception heavily influenced by the media. “We want our lives to match our vision of the good life, itself largely a product of the media. We want to have the right clothes, the right car, the right house, the right job, the right spouse, the right children, even the right toothpaste” (Gabler, 1998). Understanding that specific items, clothing brands and looks have come to represent the individual’s attainment of specific social positions, many people dedicate the majority of their attention on attaining the external appearance of the ideal at the expense of developing a more meaningful and fulfilling inner identity. Because of today’s more disconnected society, “we no longer measure ourselves against the Joneses next door but against people we know only from the media … J Lo’s left hand is weighted down by an 8-karat diamond, which makes our own finger jewellery look puny” (Kulman, 2004). These types of actors, with their perceived life of ease and glamour, are understood to provide the example of the ‘good’ life. Therefore, in order to give the impression that one is living the ‘good’ life, one must have all the fashions and accessories displayed in one’s favorite television programs. “Instead of deciding what kind of shoes to wear or what kind of kitchen appliance to buy by looking at what their classmates or neighbours own, women now seek out consumer goods like those used by their favorite television characters” (Brinkerhoff, 2005). There is concern that because people are forming their identities based upon what they see on television rather than what appeals to their own inner nature, these people will have a great deal of difficulty in finding satisfaction in their lives. It has also been demonstrated that people’s identities are formed as much by inner identity and interests as by external ideals. By choosing to associate themselves with a particular ‘look’ in their fashion choices, people can deliberately shape how others might see them simply by changing the types of external designs they choose to display. For example, in the social angst of the 1960s, when women were beginning to demand greater public recognition and opportunities, designer Vivienne Westwood discovered that “there was a dramatic potential in the clothes themselves that could be heightened: laden with associations, biker gear links sexuality, violence and death, in a twentieth century archetype” (Savage, 2001). Working to build on these impressions of the female form as something potentially dangerous and wildly free of normal social conventions, Westwood added metal studs, chicken bones, chains, zippers and other things to clothing, defining the punk culture as something available for women (Savage, 2001). Westwood also brought forward the romantic ‘pirate’ image comprised of frilled shirts, tight skirts and ragged edges that conveyed a sense of combined softness and independence. From here, she developed the ‘savage’ look that linked earth mother with tattered layers, asymmetrical skirts and untamed spirit. Through the introduction of her designs, Westwood made it possible for women to express a menacing, ‘bad girl’ lurking just under the surface. When an individual wears Westwood-inspired punk designs, she associates herself with the rebellious, rough side of her nature or she might choose to associate herself with the softer ‘romantic’ ideal by adding ruffles and lace. In addition, colors and cut can also add to the expressions a woman wishes to convey to her audience, the entire external world. However, in order to accurately reflect her inner identity through her exterior appearance, a woman has to have a clear understanding of just what social signals her fashion choices might be sending. It is undeniable that clothing sends specific social signals based on a variety of factors. These signals are becoming more and more important to individuals as a means of judging just where others stand in the social hierarchy. “’Objects are now carrying the status weight that blood and religion and pigment used to carry.’ Which is to say that [individuals] not only ‘buy up’ but wear their wealth on their sleeve — or chest … labels no longer hid discreetly inside the collar. Today, Tommy Hilfiger’s prized name can take up most of the shirt” (Kulman, 2004). Names such as this convey the wearer belongs to a specific social set characterized by comfortable and sometimes great wealth, a ‘country club’ attitude and thus subscribes to a specific world view. However, only those who recognize the name ‘Tommy Hilfiger’ will associate the individual with the type of crowd and social status the individual might wish to convey in choosing the garment. Others may mistakenly assume the name blazoned across the chest is the name of the individual or simply fail to recognize the status attached. As a result, those who expect their clothing to ‘speak’ for them must take care to only expect it to speak for them within the specific crowd they are attempting to communicate with as a means of ensuring that the signals are interpreted as they were intended. This concept that the clothing we wear signals to others inherent elements of our inner nature and abilities is copied from the natural world in which animals, such as butterflies, will mimic the external appearance of more dangerous species as a means of protection from predators. There are a number of ways in which external appearance in the form of fashion can signal to others the wearer’s internal perceptions of themselves. This occurs through the formal design of the clothing – is it cut ‘masculine’ with large shoulders and a tapered waist or ‘feminine’ with flowing fabric, lacy details and ruffled edges? However, signals are also shaped by the occasion or social setting to which one wears the fashion – a bikini bathing suit worn to a convention party signals ‘stripper’ or ‘prostitute’ while the same outfit worn to the beach signals merely ‘sunbather’ or ‘swimmer.’ These concepts are themselves formed, in part, by a historical frame of reference as most individuals may consider the beach an entirely appropriate place to wear a bikini while these same individuals commonly believe the bikini worn in any other setting is simply meant to showcase goods for sale. As can be seen from these examples, though, these perceptions can be different based upon the individual’s historical reference marks, both for the wearer and for the observer (Donath, 2007). The importance of recognizing how the greater society interprets signals sent through fashion is therefore as important as the individual’s understanding of these signals when selecting what fashion to wear. The fashions people choose to express their own identity or mood have some significance regarding how they wish to convey their identity to others. However, this impression must still pass through the eyes of the observer, who will judge the person’s external identity based upon the knowledge base of the observer who then will treat the person according to this assessment. Thus, the cycle comes full circle as the person reacts and reshapes her identity based upon how they are treated by others. Works Cited Brinkerhoff, David B., Suzanne T. Ortega and Rose Weitz. Essentials of Sociology. Belmont: Thomas Learning Co. (2005). Donath, Judith. “Signals, Cues and Meaning.” Signals, Truth and Design. Cambridge, MA: MIT Press. (2007). Gabler, Neal. “Is ‘Life the Movie’ Better Than the Real Thing?” LA Times. Nov. 8, (1998). Kulman, Linda. “Our Consuming Interest.” U.S. News and World Report. Vol. 136, N. 23: 58. (June 24, 2004). Savage, Jon. England's Dreaming: Anarchy, Sex Pistols, Punk Rock, and Beyond. New York: St. Martin’s Press. (2001). Read More