AN ANALYTICAL STUDY OF THE INFLUENCES OF FASHION TRENDS ON THE COMMUNITY
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India is indeed a multidimensional nation through a population overall 1.27 trillion, expanded across varying areas with high traditions. Specific outfits and clothing have a longer history to analyses. They are committed to the adopting of such popular traditional Indians, who have a longer enriching cultural continuity all over the globe. Technologies & Refurbishments seems to be the giant surge that is currently on the trends. can start with everything from Bell Bottoms, Vintage Fashion, Bobby Print, Smart Textiles, Sadhana, 0 size modulations as well as body modulations such as tattoos, piercing, etc. They always recognize that This is a dress that determines the social character of the individual in society Consequently, our inner Indian civilization is distorting, and everyone should be worried now, because that's on the verge to be diminished in a minute. But, because they realize, our Indian structures will still remain same. Our ancestors see only remnants of the Indians in galleries. Our cultural heritage required to be supported in such a way where these larger particles of other cultures vanish and render our Indian cultures and growth a global forum for holding this nation's cultural treasure intact.Keywords:
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What do we obtain from attempting to conserve our traditions in this age of 'One World?' This query has since long put forth the irony between 'Space' - as seen in necessity of the transforming world and 'Culture' - as seen in resistance to transformations therein. The interdependence of space and culture is as old as the evolution of mankind. These two major components have influenced the life styles of people and the settlement patterns. One can examine any village or town in the world with these components and also find that one is different from other and has a uniqueness of its own. The action of people's attitude can be identified through the urban spaces, in any place. It can either have a short term or a long term effect. One of the fundamentals of human nature is insistence and resistance. Both have similar intensity with respect to forcefulness, but contradict each other. The classical example would be the Dharnas, Gheraoes, processions, celebrations on streets (urban spaces) to oppose or celebrate on issues related to larger whole. Communities live and work in towns and cities; as society changes so does urban form, responding to accommodate change and growth. In urban context, cultural heritage is the line of continuity from one generation to the next in spite of its spatial requirements. It is not only something we want to hand over to the future generations, it is also something we want to appreciate and experience to the fullest extent. The image of the most metropolitan cities in India today, is still recognized through the traditional or old cores. The thriving traditional cores of the most modern metropolises are degenerating with increasing pressure on their plight of poor infrastructure. Can we simply find a way by which one could understand the 'Culture of Space' as against 'Culture and Space?'
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Fashion is a way to get acceptance in society. Fashion trends come and go; meanwhile a society’s values are established and evolving characteristic to their beliefs and culture. Indian fashion is popular all for its distinctiveness around the world. There are countless fashions or styles which have been embraced worldwide.(Venkatasamy, 2015).Sari, which is renowned all around world, is one of them. Fashion is just not an ambitious projected image of a reinterpreted good old value to fulfil some function or agenda alike but rather asuggestive and refreshing concept worthy enough to be depicted for society’s appreciation that makes us even more instinctive.
Optimal distinctiveness theory
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How DOES THE TRADITIONAL CHANGE? How do new traditions begin? These are questions that folklorists and other students of culture often ask and for which no simple answers can be given. We often find that the people and expressions which we study, if we study them well and long enough, are always changing. Yet old forms do persist, often scarcely changed despite their passage through years of use. We all know that traditional societies save as much as they throw away, remember as much as they forget, recreate as often as they create anew. In any society there is the pulling attraction of the modern and the tugging restraint of the past, twin forces never quite at equal strength (Toelken 1979:34-35; Abrahams 1971:27). Knowing that the balance between these two influences is bound to shift should then suggest a research agenda for the folklorist. Beyond the description of what people do and say, we need to understand the circumstances under which they may change their minds. Accordingly, we should seek people encountering cultural quandaries, people engaged in social criticism, people testing their whole scheme of inherited values. We confront in such situations not only a source of unending variation that makes life interesting, but we also may witness the way that inevitable change is slowed to a comprehensible and therefore acceptable human pace. During the 20th century the balance between tradition and change in West Africa has tipped decidedly in the direction of change. One crucial aspect of indigenous culture that has been significantly affected is domestic housing. In this paper I present an analysis of the emergence of a new vernacular dwelling among the Yoruba of southwestern Nigeria (Bascom 1969:1-3). My findings should illustrate a specific strategy employed in traditional societies to make the changes required by changing times more reasonable, a technique for claiming the new as familiar. The Yoruba changed their houses, but they changed them in a way that made an imported design profoundly their own. By seeking change themselves, they were able to gain control of that process and emerge from the experience with homes they understood and accepted instead of new buildings that are but another element of the Third World's burden (Oliver 1971:23).
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The transmitted cultural and nationalistic values, morals and ethics, are truly the essence of any nation which makes them unique and exclusive. The permanence, relevance and practice of cultural traditions, values and mores, are social ideals that have existed for centuries are passed down to every generation. They are one of the very few things that have stood the test of time. Language is the backbone of all cultures. It is the most distinguished skill, a present and an art presented to an individual by society. We sense, impart, express, pass on, dream, and manage our day by day lives, with the guide of words that are fathomable and important to us. The skeleton of culture is deficient and can't get by without the solid help of language because of the unavoidable, uncontrollable and massive flow of foreign cultures as a result of Cultural globalization are considered as the most vital reason that is diminishing the importance of local culture and local languages.
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We believe that the cultural landscape is largely formed by the dominant cultures of a place. “It is formed by a sometimes conflicted, sometimes consensual discourse or narrative from an array of stories, observations and intentions, first spoken by people of these dominant cultures and thereafter enacted on the ground. To our view, such a story has certain fluidity about it, and may change directions for any number of reasons. This work, Greenhouse Britain, is designed literally to express what the rising of waters would mean to the landscape of the island. It takes the 3 positions of defense, withdrawal and then defense, withdrawal to the high grounds.
We suggest that the existing plans for greenhouse emissions control will be insufficient to keep temperature rise at 2° or less. In fact, we believe that the tipping point is past. In this context, the rising ocean becomes a form determinant. By “form determinant”, we mean, the rising ocean will determine many of the new forms that culture, industry and many other elements of civilization will have to take. There is another piece of this picture that we wish to give voice to. That is up until this present rising of the world oceans, the creators of Western civilization have held and enacted the belief that all limitations in the physical world, particularly in the ecological world are there to be used and overcome. We think that the rising ocean is an opportunity for transformation, but it is exactly the reverse of a new frontier to overcome from civilization’s perspective. Now, from the ocean’s perspective, its boundary is perhaps a continuing, evolving transforming new frontier. Therefore, assuming a rapid rise of waters, even for a modest 5 meters in 100 years, there are apparently no models of precedence, no information, design, nor planning on the table, with the exception of ocean defenses and typical development models, albeit more energy efficient ones. It is the intention of this exhibition to begin generating the thinking, the design, perhaps the new belief structure, perhaps even indicating new economic structures that may be required for the democratic dispersal of support for an upward-moving population within the context of a gradually shrinking landmass.
We as strangers believe that Britain is at the intersection of 3 histories. There is the history of empire, its beginnings, its growth, its high point at the Industrial Revolution and its contraction from the 1930s to the 1970s to its present consensual relationship to so many of its former, now independent, colonies. While, part-by-part, we imagine this contraction can be seen as stressful, seen as a continuum, we as strangers perceive this withdrawal, this re-forming of self, as it were, as graceful. It is in this sense that we believe that deeply imbedded in the zeitgeist of the country is the knowledge or understanding of how to yield terrain.
The second history is imbedded in the astonishing, for us, national response to the threat of invasion by the Nazis. We both remember, as children, the news stories and Churchill’s speeches on the radio, which did, in fact, unify and mobilize the country (and to some degree, our country as well). We see a partial metaphor here. We do not see the world oceans as attacking the isle of Britain, but we do see the need for the country to mobilize with the same integrity, vitality, cooperation, depth of purpose and “all-in-it-togetherness” that typified the war years and the reconstruction thereafter. We note that this insight has been recently expressed by others.
The third history that we see is one that this proposed work of art seeks to co-join with. It is the new history that is coming into being in a 30-year to 100-year Now with a growing understanding of the urgency imbedded in this 30-year moment.
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Globalization has contributed immensely to the modern society in many respects, especially in technological, economic and industrial development; and is without doubt, desirable. The negative effects it has on culture and society, however, need to be considered. In today j·
globalized world, cities are becoming clones of each othe1; and people are converging into fake stereotypes•with so mc.my countries and people losing their identity. Gone are the·.unique cities that carry so much history and culture in every corner; lost are the enriching cultural differences and specificities that make a society uniquely
what it is; Ahuja is striving to look/ike Paris. which looks like Madrid; beautiful traditional clothing is lost between the new bulk-made looks created by the big brands; people look alike, eat alike and dress alike whether they 're in New York, New Delhi, Ahuja or Cairo. Implicit in
all these is a deep-rooted sense of loss of identity: the uniqueness in us; that which makes us special and allows us to stand out from the crowd. Because globalization exerts particularly pervasive effects on the peoples and cultures of developing world and given the pitiable
socioeconomic. indicators of these societies, themes of loss resulting from globalization are more pronounced and portend serious psychopathological implications for peoples of such societies. In conclusion, cultural exchange is good and should be valued dearly, but should not be taken to mean a wholesale jettisoning of our unique cultures to adopt a unified, fake, money-driven one.
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