High Waisted Wide Leg Womens Jogger, Wide Pants. Innovation is no more than the fact that today we have something that did not exist yesterday, for example the iPod or baggy pants. Culture is a constant, practical process of negotiating the rules according to which people live, revealed in a society’s or community’s execution of its practical existence.
Among other things, both language and clothes may serve as indicators and codes of cultural processes, but they are essentially involved in their creation as well, making it easier to determine one’s own identity.
High Waist Wide Leg Womens Jogger, Pant, Fashion Future
The assertion of product innovations is linked to acceptance. It comes about via a step-by-step process of dissemination or respectively adaptation, which can be described as primary (fashion insiders, freaks), secondary (pop stars, celebrities as leading figures), tertiary (start of actual distribution; people of the scene and youngsters), and quartiary (the fashion-conscious masses).
One example: innovations like frayed seams and open edges were first seen on creations by Japanese designers like Rei Kawakubo and Yohji Yamamoto in Paris in 1981/1982, but they made it into universal fashion only around 2002, where they were still a top fashion in 2006. Hipsters, the extreme bumster trousers by Alexander McQueen, triggered a shock effect in 1996, became a matter of course among young people as from around 2002, and arrived at the extreme of bumsters in youth ready-made fashions only in 2005.
Nevertheless, innovation is always oriented towards the future, even though the planning of the future always takes place in the present. If an innovation is perceived by an outsider, this happens in the future that occurs after the invention. To be absolutely sure that an invention will assert itself, we would have to know today what is going to happen tomorrow.
However, this does not mean that we know the future, only that we have some concept of it. Future perspectives are no more or less than worlds of pure imagination, which the communicators create from their audience’s interests. It is not possible to achieve innovative concepts by asking the consumers what they want.
Innovations are possible at several levels in the fashion system: at the stylistic, idealistic and conceptual levels as well as in production and cutting technology or in materials. As far as innovation is concerned, the reward is not the journey but the end product; this alone is the measure of judgement. The journey to the reward of innovation can take two possible routes—either creative destruction in the sense of breaking down old ideas in one’s mind, forgetting what already exists, breaking rules and creating spaces; or deriving the new from continuity