pakistani bridal dresses 2012: Designer Pakistani Bridal Dresses

Thursday 6 September 2012

Designer Pakistani Bridal Dresses

Source(Google.com.pk)
Designer Pakistani Bridal DressesBiography

In the first case, fashion may be viewed with positive values and associations as both attractive and functional. In the second case, it may be attributed a negative value and find associations of trickery and triviality. The negative view, quite familiar to us, snubs fashion deeming it as inferior, as silly, as creating false or misguided desires and as propagating bogus and foolish views. Relegating it a status of being purely cosmetic and largely unreal or synthetic, it effectively damns fashion and strips it off any possibility of value-creation for society. Of course, there are an enormous number of bad eggs who have taken the reins of our fashion industry, whose actions only cause fashion to live up to such accusations. But the blame is incorrectly placed.

The positive view, largely ignored, places fashion with the creative arts. More meaningfully, it sees fashion design as an instrument of cultural production as fashion and clothing play an integral part in the world that we live in, both in the creation of value at the manufacturing stage and the addition of value at the end-use stage. As fashion becomes an essential part of our everyday reality, unlike conventional art forms that are not accessible to all, it gains special status.

Fashion’s role as useful art is not its only claim to meaning. It also becomes important when we consider its role in the communication of political ideology within a country. Fashion and politics have always gone hand in hand. Ex-PM Zafarullah Jamali’s ban on the fashion show for being un-Islamic is just one barefaced example of the fact. But even more basically if we consider the semantic origins of fashion we discover just how profoundly the two are entwined.

The very word “fashion” is derived from the Latin “factio”, which gave birth to the politically sensed “faction”. The word “faction” applies to differences and conflicts among groups with further connotations of the possession and exercise of power by them. It also implies the emergence of radical groups who form their own sub-culture within a mainstream culture that they find unacceptable. The most visible signifier of their differences and/or their rebellion comes across in their clothing i.e. in fashion. We know what ideology a man wearing a green turban over white shalwar kameez (the shalwar raised above the ankle) represents. So, we can gauge the temperament, aspirations and views of people by the way they choose to dress. In this way, fashion communicates culture and beliefs and becomes the tool whereby people declare their differences.

Going further than art and politics, fashion also becomes a signifier of class structures. Such is the nature of social class that the elite never mix well with the commoners. We live under hegemonic structures, whether we like to admit as much or not, and we use fashion to not only preserve our differences but also to legitimize them. When the well-heeled order haute couture they order dresses that establish them as different. Wearing that expensive outfit becomes a statement that seals these differences once and for all. Thus, fashion is used as a fence to keep away lesser citizens by the elite.

But it doesn’t stop there. The commoners use it as a bridge to become nearer to their social superiors. This explains the pathological rush towards designer labels, taking place today, and also leads to the branding of fashion as meaningless. But the truth is that fashion is an aspiration towards creating meaning. Such class struggle may seem frivolous and fashion may seem to be the culprit. But fashion is only a symptom that communicates the illness. The illness lies in society itself.