Categoría: Fashion

Glamour originally was a term applied to a magical-occult spell that was cast on somebody to make them see something the spell-caster wished them to see, when in fact it was not what it seemed to be. In the late 19th century terminology, a non-magical item used to help create a more attractive appearance gradually became known as ‘a glamour’. Today, glamour is the impression of attraction or fascination that a particularly luxurious or elegant appearance creates, an impression which is better than the reality. Typically, a person, event, location, technology, or product such as a piece of clothing can be glamorous or add glamour.

Virginia Postrel says that for glamour to be successful nearly always requires sprezzatura – an appearance of effortlessness, and to appear distant – transcending the everyday, to be slightly mysterious and somewhat idealised, but not to the extent it is no longer possible to identify with the person.Glamorous things are neither opaque, hiding all, nor transparent showing everything, but translucent, favourably showing things.

The early Hollywood star system in particular specialised in Hollywood glamour where they systematically glamorised their actors and actresses.

Glamour can be confused with a style, which is adherence to a particular school of fashion, or intrinsic beauty; whereas glamour can be external and deliberate

Late in the 19th century the common meaning shifted to being applied to ordinary objects and jewellery without connotations of supernatural, merely upon the effect that it has on appearance. This is a sense used in this article and to some extent is the way that it was used by the early Hollywood system.

In modern usage glamour is often confused with style or beauty; but they may be considered to be distinct, although glamour may give the appearance of beauty or present as a personal style.

The characterization of a person as “beautiful”, whether on an individual basis or by community consensus, is often based on some combination of inner beauty, which includes psychological factors such as personality, intelligence, grace, politeness, charisma, integrity, congruence and elegance, and outer beauty which includes physical attributes which are valued on an aesthetic basis.

Standards of beauty have changed over time, based on changing cultural values. Historically, paintings show a wide range of different standards for beauty. However, humans who are relatively young, with smooth skin, well-proportioned bodies, and regular features, have traditionally been considered the most beautiful throughout history.

A strong indicator of physical beauty is «averageness».When images of human faces are averaged together to form a composite image, they become progressively closer to the «ideal» image and are perceived as more attractive. This was first noticed in 1883, when Francis Galton, cousin of Charles Darwin, overlaid photographic composite images of the faces of vegetarians and criminals to see if there was a typical facial appearance for each. When doing this, he noticed that the composite images were more attractive compared to any of the individual images.Researchers have replicated the result under more controlled conditions and found that the computer generated, mathematical average of a series of faces is rated more favorably than individual faces.]It is argued that it is evolutionarily advantageous that creatures are attracted to mates who possess predominantly common or average features, because it suggests the absence of genetic or acquired defects. There is also evidence that a preference for beautiful faces emerges early in infancy, and is probably innate, and that the rules by which attractiveness is established are similar across different genders and cultures.

A feature of beautiful women that has been explored by researchers is a waist–hip ratio of approximately 0.70. Physiologists have shown that women with hourglass figures are more fertile than other women due to higher levels of certain female hormones, a fact that may subconsciously condition males choosing mates.

People are influenced by the images they see in the media to determine what is or is not beautiful. Some feminists and doctors[vague] have suggested that the very thin models featured in magazines promote eating disorders,and others have argued that the predominance of white women featured in movies and advertising leads to a Eurocentric concept of beauty, feelings of inferiority in women of color,and internalized racism.

The black is beautiful cultural movement sought to dispel this notion.

Fatima Lodhi, a young diversity and anti-colorism advocate from Pakistan, claims that

«Beauty comes in all shapes, shades and sizes».

The concept of beauty in men is known as ‘bishōnen’ in Japan. Bishōnen refers to males with distinctly feminine features, physical characteristics establishing the standard of beauty in Japan and typically exhibited in their pop culture idols. A multibillion-dollar industry of Japanese Aesthetic Salons exists for this reason.

Fashion is a popular style or practice, especially in clothing, footwear, accessories, makeup, body, or furniture. Fashion is a distinctive and often constant trend in the style in which a person dresses. It is the prevailing styles in behaviour and the newest creations of textile designers. Because the more technical term costume is regularly linked to the term «fashion», the use of the former has been relegated to special senses like fancy dress or masquerade wear, while «fashion» generally means clothing, including the study of it. Although aspects of fashion can be feminine or masculine, some trends are androgynous.

Early Western travelers, traveling whether to Persia, Turkey, India, or China, would frequently remark on the absence of change in fashion in the respective places. The Japanese Shogun’s secretary bragged (not completely accurately) to a Spanish visitor in 1609 that Japanese clothing had not changed in over a thousand years.However, there is considerable evidence in Ming China of rapidly changing fashions in Chinese clothing. Changes in costume often took place at times of economic or social change, as occurred in ancient Rome and the medieval Caliphate, followed by a long period without major changes. In 8th-century Moorish Spain, the musician Ziryab introduced to Córdoba .unreliable source sophisticated clothing-styles based on seasonal and daily fashions from his native Baghdad, modified by his own inspiration. Similar changes in fashion occurred in the 11th century in the Middle East following the arrival of the Turks, who introduced clothing styles from Central Asia and the Far East

The beginning in Europe of continual and increasingly rapid change in clothing styles can be fairly reliably dated. Historians, including James Laver and Fernand Braudel, date the start of Western fashion in clothing to the middle of the 14th century,  though it should be noted that they tend to rely heavily on contemporary imagery and illuminated manuscripts were not common before the fourteenth century. The most dramatic early change in fashion was a sudden drastic shortening and tightening of the male over-garment from calf-length to barely covering the buttocks ,sometimes accompanied with stuffing in the chest to make it look bigger. This created the distinctive Western outline of a tailored top worn over leggings or trousers.

One possible origin of design can be found in the early 16th century. At the beginning of the modern era, the idea emerged that society could be shaped through the design of the living environment. A God-given order did not determine our lives; it was rather people who shaped the world—this, at least, was the basic idea. An excellent example of it can be found in the philosophical work Utopia, in which Thomas More (1478–1535) created an ideal society.1 This society’s realization depended on the way cities, villages, and settlements were arranged, and the way houses, furnishings, clothing, and meals were configured. Today, all of that is included in design.

Another possible origin of design is discernable in the late 18th century. During the Enlightenment, many rulers tried to improve their states and educate their subjects according to their perceptions of the ideal. To that end, they trained artists, craftspeople, and producers, who, following the ancient Greek model, were meant to make objects for everyday use, thereby strengthening the economy and cultivating “good taste” in the populace.2 In the design of these objects, the desire for economic growth was combined with moral goals. The rulers’ humanistic ideals were meant to be passed on to the subjects through everyday objects. This linking of the moral and economic reappears in almost all later periods of design.

Pie muffin apple pie cookie. Bear claw cupcake powder bonbon icing tootsie roll sesame snaps. Dessert bear claw lemon drops chocolate cake. Cake croissant cupcake dragée wafer biscuit pudding bonbon.