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The time when "fashion" was defined by French designers whose clothes could be afforded only by elite has ended. Now designers take their cues from mainstrea! m consumers and creativity is channeled more into mass-marketing clothes than into designing them. Indeed, one need look no further than the Gap to see proof of this. In The End of Fashion, Wall Street Journal, reporter Teri Agins astutely explores this seminal change, laying bare all aspects of the fashion industry from manufacturing, retailing, anmd licensing to image making and financing. Here as well are fascinating insider vignettes that show Donna Karan fighting with financiers,the rivalry between Ralph Lauren and Tommy Hilfiger, and the commitment to haute conture that sent Isaac Mizrahi's business spiraling.
By definition a fad is novel and appears from outside. Fads must have instant appeal and do not have a long shelf life. In Japan, an assortment of islands, the outside is often the quality that defines the inside.
Japan has a history of chasing fads and fashion. Since the 19th century, foreign products have been welcomed in, from the cult for "squeaky shoes" in the mid-19th century to the current fad for virtual reality girlfriends. Japanâs mandate was that, having been opened late, it had to hurry to catch up. Fads provide both a social distraction and a sense of cohesion, indicating not only foreign importation but also native adaptation.
The Image Factory is both an investigation into fa! ds, fashions and style â" such as US Army surplus uniforms, "pachinko", mutating hair colors â" and an appreciation of their inherent meanings. The Japanese have seized upon fads and fashion as an arm of enterprise to a much greater extent than elsewhere in the world. Ephemerality has been put to work, the transient has become industrialized, and the results are highly conspicuous.
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