A Research For The Styles Of The Fashion Icons Based On The Old System Of Style In The 20th Century In West

"Anyone who has been in the fashion business for longer than five years," Amy M. Spindler, the sensationally famous New York Times formal critics once wrote, "might be feeling like a drowning man whose life is flashing before his eyes." It shows the unique charm of fashion that the forepassed styles had never been dissolving during its develop process, but reaching an edge point of speed by prosecuting self-consummation and eventually evolved as another round of rebirth. Old fashioned idols declared their eternity extremely strong at the age of vintage, for most of the designers, their muses nevertheless remain the same no matter how the new collection changed, as Catherine Deneuve for Yves Saint Laurent, Marlene Dietrich for Giorgio Armani, and Frida Carlo for Jean-Paul Gaultier, those spectacular faces become fashion guidelines to help the artists to appreciate the pass, present and future and support them to build system of style vividly as assistors. The motivation to concentrate upon those icons as research models is firmly base on the ceaseless crucial discussion about circulation theory of fashion in academic phenomenon.The substances of this thesis are attempted to penetrate the fashion history from 1920 to 1990, distinct social backgrounds of this particular century not only gave birth to marvelous system of styles differently in every decade, but also became the fountainhead of classic fashion icons and media worship. Eric J.Hobsbawm, who's one of the best known historians of the 20th century once indicated that "why brilliant fashion designers, a notoriously non-analytic breed, sometimes succeed in anticipating the shape of things to come better than professional predictors, is one of the most obscure questions in history; and, for the historian of culture, one of the most central." The main target of this thesis is designed to resolve this question by selecting prevalent female and male fashion icons in art, film, literature, and social areas, discovering the personal maturity, their existence times, civilization values, individual experiences, philosophy of living, and fashion attitudes with socialized perspectives, while additionally accomplish the regulations of creating icons by way of settling research standpoint upon authoritative and academic theories with specific, professional, and rational thoughts, categorize the research models into several distinctive style camps, and emphatically discuss the subjective and objective factors of personal style formation by establishing them in one specific dimention to compose a legible module diagram. The crucial part of this thesis, which, could be know as the social factors of fashion icons' personal styles and significant of fashion, are technically based on four relative theories such as sociology of fashion, social psychology of fashion, philosophy of fashion, and the fashion system, moreover, the primary spirit is to make an accomplished experiment and penetrate with the cultures of fashion in order to explore fashion icons' arty charisma through those lavished recognition of old fashion faces, for the sake of providing help for modern media to create contemporary classics.