Fashion Marketing
Cathy Horyn is a highly esteemed New York fashion critic. Horyn has concentrated over twenty years of her life talking about fashion issues. In her latest piece of work, she asserted that many women including her currently like clothes that offer comfort. She stressed on the profoundness of the desire to be comfortable, which is responsible for the formation of attitudes and markets. She argued, for instance, that comfort does not mean to put on sweatpants and wear it all day, but to enjoy unfussy clothes. It seems fair enough. However, as her argument reveals, Ms. Cathy Horyn talks on the avant-garde fashion by stressing that from her own observation, enthusiastic approach to conceptual framework of extraordinary clothing runs out of steam. Moreover, since it is an inspired art fashion of the past twenty years whether by Martin Margiela , Raf Simons or Miuccia Prada, I agree that this approach is becoming increasingly weary. The alternative, according to Ms. Cathy Horyn, appears to be higher-end brands like Vince that are relevant for mass market.
Ms. Cathy Horyn’s notion that comfort should be the main factor considered when designing women’s clothes makes fashion lack distinction from mere clothing. Many people have responded to her assertion in search of a clear answer. Fashion critics and scholars are not sure about what to regard as fashion and what to esteem as its fake manifestation. Perhaps, such confusion results from the difficulty to describe the indescribable qualities of a fashionable object regarding both cultural and economic factors that surrounds it. Fashion, according to popular belief, comes with a set of undisputed values as opposed to mere clothing. According to popular notion, fashion is valuable if it has a theatrical element. It is also valuable when it makes a strong aesthetic statement and if it has a meaning.
The aesthetic value of fashion is consumable since the central role of the designer is to bring out a unique and strong aesthetic proposition. This has become increasingly difficult to do, as the present fashion builds its own history. Moreover, it is possible to design aesthetically appealing clothes. Some years back, unfamiliar designers such as Alber Elbas, Rick Owens and Lanvin made remarkable designs. Neither of their designs was original in the strict sense for their consumers, but it was easy to tell their clothes apart if you were familiar with their creations. In her article, Ms. Cathy Horyn lauds the Nineties minimalists Jil Sander and Helmut Lang for their sensible and decent clothes, which stood in bleak opposition to the splendor of Mugler and Gaultier. The finishing stroke is not sensibility demonstrated in their designs, but the fact that these designers made sensibility a unique aesthetic proportion. A newfound sobriety reflected in their creations came after an age of exaggerations.
Much of the referred comfort defining fashionable features in clothes can be a mere marketing strategy by Ms. Cathy Horyn. Indeed, she is not right to purport that the meaning of fashion is superimposed and/or attached to the fashion itself. The comfort in particular clothes she stresses on can be manifested not in all dresses, which means that worn clothes might not be fashionable. Apparently, clothes should be designed to guarantee its comfortable utility by the potential buyer. For instance, it is true that fashion has been associated with celebrities and that all the outfits worn by the well-known figures are supposed to be fashionable. Celebrities have great influence on people’s perception of different ideas, including fashion. Even if the clothes, which some of the celebrities promote, are not qualified as fashion, yet they popularize comfort quality.
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