Editing Fashion (section)

==History of fashion==
{{see also|History of fashion design}}
[[File:Clothing history2 (Nouveaau Larousse,c. 1900) DSCN2839.jpg|thumb|[[French fashion]] from the ''[[New Larousse Illustrated]]'', 1617–1898]]
Changes in clothing often took place at times of economic or social change, as occurred in ancient [[Rome]] and the medieval [[Caliphate]], followed by a long period without significant changes. In eighth-century [[Moorish Spain]], the musician [[Ziryab]] introduced to [[Córdoba, Spain|Córdoba]]<ref>[[Salim al-Hassani|al-Hassani]], Woodcok and Saoud (2004), ''Muslim Heritage in Our World'', FSTC publishing, pp. 38–39</ref>{{Unreliable source?|Bias source per discussions at RS noticeboard|failed=y|date=March 2014}}<ref>Terrasse, H. (1958) 'Islam d'Espagne' une rencontre de l'Orient et de l'Occident", Librairie Plon, Paris, pp.52–53.</ref> [[sophistication|sophisticate]]d clothing styles based on seasonal and daily fashions from his native [[Baghdad]], modified by his inspiration. Similar changes in fashion occurred in the 11th century in the Middle East following the arrival of the [[Turkic peoples|Turks]], who introduced clothing styles from Central Asia and the Far East.<ref>{{cite book |author=Josef W. Meri & Jere L. Bacharach |title=Medieval Islamic Civilization: A–K |publisher=[[Taylor & Francis]] |year=2006 |isbn=978-0415966917 |page=162}}</ref>

=== Alleged Western distinctiveness ===
[[File:Boldini_(Lina_Cavalieri).jpg|thumb|left|[[Lina Cavalieri]] an opera singer and a model, becoming a [[muse]] for several notable artists and photographers.]]

Early Western travellers who visited [[India]], [[Iran|Persia]], [[Turkey]], or [[China]], would frequently remark on the absence of change in fashion in those countries. In 1609, the secretary of the Japanese {{transliteration|ja|[[Tokugawa shogunate|shōgun]]}} bragged inaccurately to a Spanish visitor that [[Japanese clothing]] had not changed in over a thousand years.<ref name=Braudel>Braudel, Fernand [https://books.google.com/books?id=rPgVp3vMOjcC ''Civilization and Capitalism, 15th–18th Centuries, Vol 1: The Structures of Everyday Life''], William Collins & Sons, London 1981 {{ISBN|0-520-08114-5}}</ref>{{Rp|pages=312–313}} However, these conceptions of non-Western clothing undergoing little, if any, evolution are generally held to be untrue; for instance, there is considerable evidence in [[Ming dynasty|Ming China]] of rapidly changing fashions in [[Han Chinese clothing|Chinese clothing]].<ref>[[Timothy Brook (historian)|Timothy Brook]]: "[[The Confusions of Pleasure: Commerce and Culture in Ming China]]" (University of California Press 1999); this has a whole section on fashion.</ref> In imperial China, clothing were not only an embodiment of freedom and comfort or used to cover the body or protect against the cold or used for decorative purposes; it was also regulated by strong [[sumptuary law]]s which was based on strict social hierarchy system and the ritual system of the Chinese society.<ref name=":3">{{Cite book |last=Feng |first=Ge |url=https://www.worldcat.org/oclc/935642485 |title=Traditional Chinese rites and rituals |date=2015 |publisher=Cambridge Scholars Publishing |others=Zhengming Du |isbn=978-1-4438-8783-0 |location=Newcastle upon Tyne |oclc=935642485}}</ref>{{Rp|pages=14–15}} It was expected for people to be dressed accordingly to their gender, social status and occupation; the Chinese clothing system had cleared evolution and varied in appearance in each period of history.<ref name=":3" />{{Rp|pages=14–15}} However, ancient Chinese fashion, like in other cultures, was an indicator of the socioeconomic conditions of its population; for Confucian scholars, however, changing fashion was often associated with [[Civil disorder|social disorder]] which was brought by rapid commercialization.<ref name=":2">{{Cite book |title=Modern Chinese literary and cultural studies in the age of theory: reimagining a field |date=2000 |publisher=Duke University Press |first=Rey |last=Chow |isbn=0-8223-8016-1 |location=Durham, NC |oclc=51948712}}</ref>{{Rp|page=204}} Clothing which experienced fast changing fashion in ancient China was recorded in ancient Chinese texts, where it was sometimes referred as {{transliteration|zh|shiyang}}, "contemporary-styles", and was associated with the concept of {{transliteration|zh|[[fuyao (fashion)|fuyao]]}}, "outrageous dress",<ref>{{Cite book |last=Finnane |first=Antonia |url=https://www.worldcat.org/oclc/84903948 |title=Changing clothes in China : fashion, history, nation |date=2008 |publisher=Columbia University Press |isbn=978-0-231-14350-9 |location=New York |oclc=84903948}}</ref>{{Rp|page=44}} which typically holds a negative connotation. Similar changes in clothing can be seen in Japanese clothing between the [[Genroku culture|Genroku period]] and the later centuries of the [[Edo period]] (1603–1867), during which a time clothing trends switched from flashy and expensive displays of wealth to subdued and subverted ones.

[[File:Mizuhara_Kiko_from_"No_Smoking"_at_Opening_Ceremony_of_the_Tokyo_International_Film_Festival_2019_(49013706881).jpg|thumb|[[Kiko Mizuhara]] is a Japanese-American model and designer known for blending traditional Japanese elements with modern fashion, challenging stereotypes of Japanese style as static or outdated.]]

The myth on the lack of fashion in what was considered the Orient was related to [[Imperialism|Western Imperialism]] also often accompanied [[Orientalism]], and European imperialism was especially at its highest in the 19th century.<ref name=":7">{{Cite book |last=Finnane |first=Antonia |title=Changing clothes in China : fashion, history, nation |date=2008 |publisher=Columbia University Press |isbn=978-0-231-14350-9 |location=New York |oclc=84903948}}</ref>{{Rp|page=10}} In the 19th century time, Europeans described China in binary opposition to Europe, describing China as "lacking in fashion" among many other things, while Europeans deliberately placed themselves in a superior position when they would compare themselves to the Chinese<ref name=":7" />{{Rp|page=10}} as well as to other countries in [[Asia]]:<ref name=":7" />{{Rp|page=166}}{{Blockquote|text=Latent orientalism is an unconscious, untouchable certainty about what the Orient is, static and unanimous, separate, eccentric, backward, silently different, sensual, and passive. It has a tendency towards despotism and away from progress. [...] Its progress and value are judged in comparison to the West, so it is the Other. Many rigorous scholars [...] saw the Orient as a locale requiring Western attention, reconstruction, even redemption.|author=Laura Fantone quoted Said (1979) |title=Local Invisibility, Postcolonial Feminisms Asian American Contemporary Artists in California |source=page 166}}Similar ideas were also applied to other countries in the East Asia, in India, and Middle East, where the perceived lack of fashion were associated with offensive remarks on the Asian social and political systems:<ref>{{Cite book |last=Chaudhuri |first=K. N. |title=Asia before Europe : economy and civilisation of the Indian Ocean from the rise of Islam to 1750 |date=1990 |publisher=Cambridge University Press |isbn=0-521-30400-8 |location=Cambridge [England] |oclc=20014228}}</ref>{{Rp|page=187}}{{Blockquote |text=I confess that the unchanging fashions of the Turks and other Eastern peoples do not attract me. It seems that their fashions tend to preserve their stupid despotism.|author=[[Jean Baptiste Say]] (1829)}}

=== Africa ===
Additionally, there is a long history of fashion in [[West Africa]].<ref name=":8">{{Cite book |last=Green |first=Toby |title=A Fistful of Shells: West Africa from the Rise of the Slave Trade to the Age of Revolution |publisher=University of Chicago Press |year=2019 |isbn=9780226644578 |location=Chicago |oclc=1051687994}}</ref> Cloth was used as a form of currency in trade with the [[Portuguese people|Portuguese]] and [[Dutch people|Dutch]] as early as the 16th century,<ref name=":8" /> and locally produced cloth and cheaper European imports were assembled into new styles to accommodate the growing elite class of West Africans and resident gold and slave traders.<ref name=":8" /> There was an exceptionally strong tradition of weaving in the [[Oyo Empire]], and the areas inhabited by the [[Igbo people]].<ref name=":8" />

=== Fashion in the Western world ===
[[File:MA-Lebrun.jpg|thumb|upright|left|[[Marie Antoinette]], wife of Louis XVI, was a leader of fashion. Her choices, such as this 1783 white [[muslin]] dress called a {{lang|fr|chemise a la Reine}}, were highly influential and widely worn.<ref name=dam>{{cite book|last=Ribeiro|first=Aileen|title=Dress and Morality |year=2003 |publisher=Berg |isbn=9781859737828 |pages=116–117}}</ref>]]
{{See also|History of Western fashion|Chinoiserie in fashion|label 2=Chinoiserie in European and American fashion|Fashion week}}
The beginning in Europe of continual and accelerating change in clothing styles can be fairly reliably dated to late [[medieval times]]. Historians, including [[James Laver]] and [[Fernand Braudel]], date the start of Western fashion in clothing to the middle of the [[1300–1400 in fashion|14th century]],<ref name=Braudel/>{{Rp|page=317}}<ref name=Laver>Laver, James: ''The Concise History of Costume and Fashion'', Abrams, 1979.</ref>{{Rp|page=62}} though they tend to rely heavily on contemporary imagery,<ref>{{Cite book|title=Fashion in Medieval France|last=Heller|first=Sarah-Grace|publisher=Boydell and Brewer|year=2007|isbn=9781843841104|location=Cambridge; Rochester, NY|pages=49–50}}</ref> as illuminated manuscripts were not common before the 14th century.<ref>{{Cite book|url=https://books.google.com/books?id=CMvTkgVRYvMC&pg=PA28|title=English Medieval Narrative in the Thirteenth and Fourteenth Centuries |last=Boitani|first=Piero|date=1986-07-31|publisher=Cambridge University Press|isbn=9780521311496}}</ref> The most dramatic early change in fashion was a sudden drastic shortening and tightening of the male over-garment from calf-length to barely covering the buttocks,<ref name="conceitom.com.br">{{cite web|url=http://www.conceitom.com.br/jeans/#more-1226|title=Jeans Calças Modelos Ideais|date=19 November 2014|work=Conceito M.|access-date=26 April 2015|url-status=dead|archive-url=https://web.archive.org/web/20150419063504/http://www.conceitom.com.br/jeans/#more-1226|archive-date=19 April 2015}}</ref> sometimes accompanied with stuffing in the chest to make it look bigger. This created the distinctive Western outline of a tailored top worn over leggings or trousers.

The pace of change accelerated considerably in the following century, and women's and men's fashion, especially in the dressing and adorning of the hair, became equally complex. [[Art history|Art historians]] are, therefore, able to use fashion with confidence and precision to date images, often to within five years, particularly in the case of images from the 15th century. Initially, changes in fashion led to a fragmentation across the upper classes of Europe of what had previously been a very similar style of dressing and the subsequent development of distinctive national styles. These national styles remained very different until a counter-movement in the 17th to 18th centuries imposed similar styles once again, mostly originating from [[Ancien Régime]] France.<ref name=Braudel/>{{Rp|pages=317–324}} Though the rich usually led fashion, the increasing affluence of [[early modern Europe]] led to the [[bourgeoisie]] and even peasants following trends at a distance, but still uncomfortably close for the elites – a factor that Fernand Braudel regards as one of the main motors of changing fashion.<ref name=Braudel/>{{Rp|pages=313–315}}

[[File:ADurerNuremburgVenetianWomen.jpg|thumb|upright|[[Albrecht Dürer]]'s drawing contrasts a well-turned out ''bourgeoise'' from [[Nuremberg]] (left) with her counterpart from Venice. The Venetian lady's high [[chopine]]s make her look taller.]]<!-- This image is referenced in the article. Please don't remove.-->

In the [[16th century]], national differences were at their most pronounced. Ten 16th century portraits of German or Italian gentlemen may show ten entirely different hats. [[Albrecht Dürer]] illustrated the differences in his actual (or composite) contrast of Nuremberg and Venetian fashions at the close of the 15th century (illustration, right). The "Spanish style" of the late 16th century began the move back to synchronicity among upper-class Europeans, and after a struggle in the mid-17th century, French styles decisively took over leadership, a process completed in the 18th century.<ref name=Braudel/>{{Rp|pages=317–321}}

Though different textile colors and patterns changed from year to year,<ref>Thornton, Peter. ''Baroque and Rococo Silks''.</ref> the cut of a gentleman's coat and the length of his waistcoat, or the pattern to which a lady's dress was cut, changed more slowly. Men's fashions were primarily derived from military models, and changes in a European male silhouette were galvanized in theaters of European war where gentleman officers had opportunities to make notes of different styles such as the "Steinkirk" [[Cravat (early)|cravat]] or necktie. Both parties wore shirts under their clothing, the cut and style of which had little cause to change over a number of centuries.

Though there had been distribution of dressed dolls from France since the 16th century and [[Abraham Bosse]] had produced engravings of fashion in the 1620s, the pace of change picked up in the 1780s with increased publication of French engravings  illustrating the latest Paris styles. By 1800, all Western Europeans were dressing alike (or thought they were); local variation became first a sign of [[province|provincial]] culture and later a badge of the conservative peasant.<ref name=Braudel/>{{Rp|page=317}}<ref name=Laver/>{{Rp|page=62}}

[[File:Cover of Marcus Clarks' spring & summer catalogue 1926-27.jpg|thumb|upright|left|Cover of [[Marcus Clark & Co|Marcus Clarks']] spring and summer catalogue 1926–27]]

Although [[tailor]]s and dressmakers were no doubt responsible for many innovations, and the textile industry indeed led many trends, the [[history of fashion design]] is generally understood to date from 1858 when the English-born [[Charles Frederick Worth]] opened the first authentic ''[[haute couture]]'' house in Paris. The Haute house was the name established by the government for the fashion houses that met the standards of the industry. These fashion houses continue to adhere to standards such as keeping at least twenty employees engaged in making the clothes, showing two collections per year at fashion shows, and presenting a certain number of patterns to costumers.<ref>Claire B. Shaeffer (2001). [https://books.google.com/books?id=e3Sd_mikSP4C&q=charles+frederick+worth+haute+couture&pg=PA7 Couture sewing techniques] "Originating in mid- 19th-century Paris with the designs of an Englishman named Charles Frederick Worth, haute couture represents an archaic tradition of creating garments by hand with painstaking care and precision". Taunton Press, 2001</ref> Since then, the idea of the fashion designer as a celebrity in their own right has become increasingly dominant.<ref>{{cite book|last1=Parkins|first1=Ilya|title=Poiret, Dior and Schiaparelli: Fashion, Femininity and Modernity.|date=2013|publisher=Bloomsbury Publishing |location=London |isbn=9780857853288|page=10|edition=English|chapter-url=https://books.google.com/books?id=kT-Xcu-aWxQC&pg=PA10|chapter=Introduction: Reputation, Celebrity and the "Professional" Designer}}</ref>

[[File:Claudia_Schiffer_Cannes.jpg|right|thumb|[[Claudia Schiffer]] became one of the most iconic models in Europe, representing major brands like Chanel, Versace, and Valentino.]]

Although fashion can be feminine or masculine, additional trends are [[androgynous]].<ref>{{cite book |title=Undressing Cinema: Clothing and identity in the movies |page=196 |author=[[Stella Bruzzi]] |year=2012}}</ref> The idea of [[unisex]] dressing originated in the 1960s, when designers such as [[Pierre Cardin]] and [[Rudi Gernreich]] created garments, such as stretch jersey tunics or leggings, meant to be worn by both males and females. The impact of unisex wearability expanded more broadly to encompass various themes in fashion, including androgyny, mass-market retail, and conceptual clothing.<ref>{{Cite web |title=GVRL In Artemis – Document – Unisex Clothing |website=go.gale.com|url=https://go.gale.com/ps/i.do?id=GALE%7CCX3427500609&v=2.1&u=fitsuny&it=r&p=GVRL.xlit.artemisfit&sw=w&asid=6f171eb2ab8928b007d0495eb681099c}}</ref> The fashion trends of the 1970s, such as sheepskin jackets, flight jackets, duffel coats, and unstructured clothing, influenced men to attend social gatherings without a dinner jacket and to accessorize in new ways. Some men's styles blended the sensuality and expressiveness, and the growing gay-rights movement and an emphasis on youth allowed for a new freedom to experiment with style and with fabrics such as wool crepe, which had previously been associated with women's attire.<ref>{{Cite web |title=GVRL In Artemis – Document – Clothing for Men|website=go.gale.com|url=https://go.gale.com/ps/i.do?id=GALE%7CCX3468303033&v=2.1&u=fitsuny&it=r&p=GVRL.xlit.artemisfit&sw=w&asid=096fa3676c226cf3c8ae864724bcfa1d}}</ref>

The four major current [[fashion capital]]s are acknowledged to be [[New York Fashion Week|New York City]] ([[Manhattan]]), [[Paris]], [[Milan]], and [[London]], which are all headquarters to the most significant fashion companies and are renowned for their major influence on global fashion. [[Fashion week]]s are held in these cities, where designers exhibit their new clothing collections to audiences. A study demonstrated that general proximity to New York's [[Garment District, Manhattan|Garment District]] was important to participate in the American fashion ecosystem.<ref>{{cite journal|url=https://hbr.org/2014/02/new-yorks-fashion-industry-reveals-a-new-truth-about-economic-clusters|title=New York's Fashion Industry Reveals a New Truth About Economic Clusters|author=Elizabeth Currid-Halkett and Sarah Williams|journal=[[Harvard Business Review]]|date=February 10, 2014|access-date=May 8, 2023}}</ref> ''Haute couture'' has now largely been subsidized by the sale of [[ready-to-wear]] collections and perfume using the same branding.

Modern [[Western culture|Westerners]] have a vast number of choices in the selection of their clothes. What a person chooses to wear can reflect their personality or interests. When people who have high cultural [[Social status|status]] start to wear new or different styles, they may inspire a new fashion trend. People who like or respect these people are influenced by their style and begin wearing similarly styled clothes.

Fashions may vary considerably within a society according to age, social class, generation, occupation, and geography, and may also vary over time. The terms ''fashionista'' and ''[[fashion victim]]'' refer to someone who slavishly follows current fashions.

===Asia===
[[File:Gensei Kajin Shu by Yoshu Chikanobu 1890.png|thumb|''Gensei Kajin Shu'' by [[Yoshu Chikanobu]], 1890.  Various styles of [[traditional Japanese clothing]] and Western styles.]]
[[File:Diane von Fürstenberg Spring-Summer 2014 06.jpg|thumb|upright|[[Liu Wen (model)|Liu Wen]], [[supermodel]], walks the runway modeling fashions by designer [[Diane von Fürstenberg]] at [[New York Fashion Week]] 2013.]]

In the early 2000s, Asian fashion influences became increasingly significant in local and global markets. Countries such as China, Japan, India, and Pakistan have traditionally had large [[Textile industry|textile industries]] with a number of rich traditions; though these were often drawn upon by Western designers, Asian clothing styles gained considerable influence in the early- to mid-2000s.<ref>Lemire, B., & Riello, G (2008). "East & West: Textiles and Fashion in Early Modern Europe". ''Journal of Social History'', 41(4), 887–916.</ref>

'''China'''

{{Main|Chinese fashion|Clothing in ancient China}}

Chinese fashion remained constantly changing over the centuries. In China, throughout the Tang Dynasty (618–907), women wore extravagant attire to demonstrate prosperity. Mongol men of the Yuan Dynasty (1279–1368) wore loose robes; horsemen sported shorter robes, trousers, and boots to provide ease when horseback riding. The leaders of the [[Qing dynasty|Qing Dynasty]] (1644–1911) maintained Manchu dress, while establishing new garments for officials; while [[foot binding]]—originally introduced in the 10th century—was not preserved, women of this era were expected to wear particular heels that pushed them to take on a ladylike walk.<ref>{{Cite web |title=Ancient China {{!}} Chinese Culture: Communicating through Fashion |url=https://you.stonybrook.edu/chinesefashion/ancient-china/ |access-date=2024-04-18 |website=you.stonybrook.edu}}</ref>

Then, in the 1920s, [[Cheongsam|qipao]] was in vogue and the style consisted of stand collars, trumpet sleeves, straight silhouettes and short side slits. Since then, designers started to move into Western fashion like fur coats and cloaks and body-hugging dresses with long side slits as qipao became more popular. In the 1950s and 60s, ‘Lenin coats’ with double lines of buttons, slanting pockets and a belt came into vogue among Chinese men.<ref>{{Cite web |title=Wearing History — Chinese Dress Since 1949 |url=http://en.chinaculture.org/chineseway/2009-08/07/content_341251.htm |access-date=2024-04-18 |website=en.chinaculture.org}}</ref>

'''India'''

{{Main|History of Indian clothing}}
[[File:Hindu Beauty.jpg|upright|thumb|[[Hindu]] lady wearing [[sari]], one of the most ancient and popular pieces of clothing in the [[Indian subcontinent]].]]
In India, it has been common for followers of different religions to wear corresponding pieces of [http://magazine-30330693 clothing].<ref>{{Cite web |date=2015-09-29 |title=The Fabric of India: Textiles in a Changing World |url=http://www.vam.ac.uk/content/exhibitions/the-fabric-of-india/textiles-in-a-changing-world/ |access-date=2024-04-18 |website=Victoria and Albert Museum |language=en-GB}}</ref> During the 15th century, Muslim and Hindu women wore notably different articles of clothing. This is also seen in many other Eastern world countries.

In the Victorian era, most women did not wear blouses under their saris, which did not suit the Victorian society; however, British and Indian fashion would be influenced by each other in following decades. In the 1920s, the nationalists adopted [[Khadi]] cloth as a symbol of resistance; here, Gandhi became the face of the resistance which made people spin, weave, and wear their Khadi. Today, the [[Shalwar kameez|salwaar-kameez]] is recognized as the national dress of India.

'''Japan'''

{{Main|Japanese clothing}}

For Japan, the people during the Meiji period (1868–1912) widely incorporated Western styles into Japanese fashion, which is considered to be a remarkable transformation for the Japanese vogue.<ref>{{Cite web |last=nyastadesigns |date=2020-09-02 |title=Ancient Japanese Era Fashion |website=Textile Value Chain |url=https://textilevaluechain.in/news-insights/apparel-fashion-retail-news/ancient-japanese-era-fashion |access-date=2024-04-18 |language=en-US }}</ref> They extensively adopted the style and practices of Western cultures.The upper classes wore more extravagant pieces of clothing like luxurious patterned silks and adorned themselves with fancy sashes. Women also started wearing Western dresses in public instead of their traditional [[Kimono]]. Most of the officials were also required to wear Western suits. In this way, the Japanese slowly adopted into Western fashion. Moreover, like India, different Japanese religions wear different pieces of clothing.