(extract from part 1)
Roland Barthes said that ”Garment is, at any time in history, a balance between regulatory forms, the total of which constantly evolves.” Since fashion is inextricably linked to social structures, societal habits and the sociocultural context of each period of time, fashion’s connotation constantly evolves. As ”fashion disposes just of a finite number of archetypical forms, which implies a history that is partially cyclical” (R. Barthes), ”…is a temporary cyclical phenomenon…” (G. B. Sproles), and serves as a means of communication, a language of belonging between people, one can only conclude that fashion is, in fact, an expression of contemporary taste and has a reciprocal relationship with the pop(-ular) world. Another construct that is omnipresent in the daily life besides fashion is music, either as a main activity or an auxiliary one. Music and musicians have a strong social impact – they are too a way of regulating and reflecting cultural roles and expectations, as performers often had a fashion awareness that directly altered conceptions of traditional beauty and gestures. The power of pop culture, a culture within both fashion and music act as languages, the era of music mega-stars and loyal fans as influencers and influencees respectively changed the course of lifestyle and identity evolution. The exchange happening between fashion and music provokes new perspectives, methods of subcultural expression, and a continuous reproduction and innovation. As fashion always tries to challenge society with extravagance and novelty, musicians used its totemic influence not as an advertisement trick, but merely as an image maker that would visualize what music – an invisible construct – couldn’t. Therefore, the combination of sensorial organs such as vision and sound was an excellent way of conveying all these new ideas these artists had to share with the world.