Fashion and the notion of time coexist in a parallel and complementary manner, although constantly contradicting each other. Fashion’s eternity depends on heterochronous fragments, rowdy veering towards each other, toiling to characterize in their domination a specific time frame reference fathomable enough for the mortals to grasp. However, fashion, in its omnipresence throughout aspects of social existence, is predicated on leaving contradictions intact, classifying them as instances of the unspeakable impossibility of human subjectivity. The egregiously painful contradiction lies within the existence of said subjectivity – Bryan Turner in ‘The Body and Society’, stated that ‘we have bodies, and we are bodies’. Bodies are time, but fashion bodies are long gone before ever being conceived, and time always exists and constantly eludes them. Fashion time is both linear and circular, new and obsolete, a plum future and a forgetful past. It is a perpetual process of elimination as well as discovery, and the rate of its ever-changing cadence probably expresses the lost cause of parthenogenesis as well as the conception of new forms of creativity. Time in fashion is an agent of illusion and artifice, defined by its level of subjectivity – the coherence between the linearity of the wearer’s life, and the circularity of the industry. Creativity has come to be a matter of sustaining, or even accelerating change and the ability to impel a fashion cycle, so the individual expression though it is a matter of distressed signals for a declaration of existence.