The Cycle of Fashion

The Cycle of Fashion

Fashion is fuelled by conversion. Designers continually persuade the public that their new ideas, however shocking they may seem, are in fact everything that a stylish wardrobe requires. Next season, the same designers convince everyone to give up their allegiance to such out-modish designs and embrace instead the innovative visual trends of the latest collections. The same garments are successively dubbed 'outlandish', 'in fashion' and 'out-dated' according to the apparent vagaries of prevailing fashionable sensibilities. Are we really duped by such duplicity? Or are we willing participants in the cycle of fashion? And perhaps more significantly, what relevance does the cycle have today in Western society's culture of mass consumerism?

The idea that fashion in dress follows a cyclical phase structure is not new. The sociologist, Quentin Bell made such an observation over fifty years ago in his book, On Human Finery. Moreover, his observation was based on accumulated evidence of an uninterrupted cyclical flow in dress change in Western society since at least the thirteenth century.

The sociologist, Ingrid Brenninkmeyer describes this flow by comparing it to the rolling of waves in the sea. As one fashion gains popularity, crests and dissipates, another stylistic wave is already forming behind it. Further extensions of this metaphor liken different stylistic features to variations in the waves themselves. For example, just as different wave patterns form on the basis of their force, size or length, so also different overlapping patterns can be traced in changes of fashionable hem length, silhouette, fabric, décolletage and colour.

Mere descriptions of the fashion cycle however do little to explain exactly why successful designers? ideas typically rise and fall in popularity. What is the motivating force behind such changes in fashion? What causes the cycle to move from one phase to the next? These questions cannot be answered simply. Perhaps sheer boredom inspires the continual search for something new. Or can novelty be related to ideas of sexual allure and attraction? Do competing market interests in the fashion industry play a role in animating the cycle? Or could changes in dress function as markers of class differentiation?

These factors and more have been variously proposed and analysed by researchers into the socio...

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...n's clothing? To look at the men's side of underwear is different." One page of the calendar (April) does depict men's undershirts from the 18th and 19th centuries.

Even the English language has been influenced by undergarments. Several popular expressions make reference to underwear: "Loose woman" comes from the connotations associated with uncorseted or loosely corseted women, Queen says. A similar case is "shiftless"; a shift was an 18th century support-providing undergarment, and Queen says the term was meant to characterize someone "without support."

Many people believe that underwear for women has changed as it has because of feminism and changing social attitudes. To a large degree, that's true, Queen says, but there are other factors as well. In the past, undergarments were often designed for their "body-shaping" features. But these days, thanks to the increase in exercise and athleticism among women, "the body has become its own foundation" and women no longer need to rely on cloth and whalebone for this purpose, she says.

"The choice," says Queen, "is do we want to spend three hours a day in the gym to sculpt the body, or do we want to put on a piece of cloth?"