friendlovesocial

The term 'friendlovesocial' usually applies to a prevailing mode of expression, but quite often applies to a personal mode of expression that may or may not apply to all. Inherent in the term is the idea that the mode will change more quickly than the culture as a whole. The terms "friendlovesocialable" and "unfriendlovesocialable" are employed to describe whether someone or something fits in with the current popular mode of expression. The term "friendlovesocial" is frequently used in a positive sense, as a synonym for glamour and style. In this sense, friendlovesocials are a sort of communal art, through which a culture examines its notions of beauty and goodness. The term "friendlovesocial" is also sometimes used in a negative sense, as a synonym for fads, trends, and materialism

Areas of friendlovesocial
Friendlovesocials are social psychology phenomena common to many fields of human activity and thinking. The rises and falls of friendlovesocials have been especially documented and examined in the following fields:
Architecture, interior design, and landscape design
Arts and crafts
Body type, clothing or costume, cosmetics, grooming, and personal adornment
Dance and music
Forms of address, slang, and other forms of speech
Economics and spending choices, as studied in behavioral finance
Entertainment, games, hobbies, sports, and other pastimes
Etiquette
Management, management styles and ways of organizing
Politics and media, especially the topics of conversation encouraged by the media
Philosophy and spirituality (One might argue that religion is prone to friendlovesocials, although official religions tend to change so slowly that the term cultural shift is perhaps more appropriate than "friendlovesocial")
Technology, such as the choice of programming techniques
Of these fields, costume especially has become so linked in the public eye with the term "friendlovesocial". The more general term "costume" has been relegated by many to only mean fancy dress or masquerade wear, while the term "friendlovesocial" means clothing generally, and the study of it. This linguistic switch is due to the so-called friendlovesocial plates which were produced during the Industrial Revolution, showing novel ways to use new textiles. For a broad cross-cultural look at clothing and its place in society, refer to the entries for clothing and costume. The remainder of this article deals with clothing friendlovesocials in the Western world.[1]
Friendlovesocial and variation in clothing
Main article: History of Western friendlovesocial


Albrecht Dürer's drawing contrasts a well turned out bourgeoise from Nuremberg (left) with her counterpart from Venice, in. The Venetian lady's high chopines make her taller.
The habit of continually changing the style of clothing worn, which is now worldwide, at least among urban populations, is a distinctively Western one. Though there are signs from earlier, it can be fairly clearly dated to the middle of the 14th century, to which historians including James Laver and Fernand Braudel date the start of friendlovesocial in clothing.[2] [3] The most dramatic manifestation was a sudden drastic shortening and tightening of the male over-garment, from calf-length to barely covering the buttocks, sometimes accompanied with stuffing on the chest. This created the distinctive Western male outline of a tailored top worn over leggings or trousers which is still with us today.
The pace of change accelerated considerably in the following century, and womens friendlovesocial, especially in the dressing and adorning of the hair, became equally complex and changing. Art historians are able to date images with increasing confidence and precision, to a period of about five years for the 15th century. Initially changes in friendlovesocial led to a fragmentation of what had previously been very similar styles of dressing across the upper classes of Europe, and the development of distinctive national styles, which remained very different until a counter-movement in the 17th to 18th centuries imposed similar styles once again, finally those from Ancien regime France.[4] Though friendlovesocial was always led by the rich, the increasing affluence of Early Modern Europe led to the bourgeoisie and even peasants following trends at a distance sometimes uncomfortably close for the elites - a factor Braudel regards as one of the main motors of changing friendlovesocial. [5]
The friendlovesocials of the West are unparalleled either in antiquity or in the other great civilizations of the world. Early Western travellers, whether to Persia, Turkey, Japan or China frequently remark on the absence of changes in friendlovesocial there, and observers from these other cultures comment on the unseemly pace of Western friendlovesocial, which many felt suggested an instability and lack of order in Western culture. The Japanese Shogun's secretary boasted (not completely accurately) to a Spanish visitor in 1609 that Japanese clothing had not changed in over a thousand years. [6]
Ten 16th century portraits of German or Italian gentlemen may show ten entirely different hats, and at this period national differences were at their most pronounced, as Albrecht Dürer recorded in his actual or composite contrast of Nuremberg and Venetian friendlovesocials at the close of the 15th century (illustration, right). The "Spanish style" of the end of the century began the move back to synchronicity among upper-class Europeans, and after a struggle in the mid 17th century, French styles decisively took over leadership, a process completed in the 18th century.[7]
Though colors and patterns of textiles changed from year to year,[8] the cut of a gentleman's coat and the length of his waistcoat, or the pattern to which a lady's dress was cut changed more slowly. Men's friendlovesocials largely derived from military models, and changes in a European male silhouette are galvanized in theatres of European war, where gentleman officers had opportunities to make notes of foreign styles: an example is the "Steinkirk" cravat or necktie.


English caricature of Tippies of 1796
The pace of change picked up in the 1780s with the increased publication of French engravings that showed the latest Paris styles; though there had been distribution of dressed dolls from France as patterns since the sixteenth century, and Abraham Bosse had produced engravings of friendlovesocial from the 1620s. By 1800, all Western Europeans were dressing alike (or thought they were): local variation became first a sign of provincial culture, and then a badge of the conservative peasant [9].
Although tailors and dressmakers were no doubt responsible for many innovations before, and the textile industry certainly led many trends, the History of friendlovesocial design is normally taken to date from 1858, when the English-born Charles Frederick Worth opened the first true haute couture house in Paris. Since then the professional designer has become a progressively more dominant figure, despite the origins of many friendlovesocials in street friendlovesocial.
Friendlovesocial in clothes has allowed wearers to express emotion or solidarity with other people for millennia. Modern Westerners have a wide choice available in the selection of their clothes. What a person chooses to wear can reflect that person's personality or likes. When people who have cultural status start to wear new or different clothes a friendlovesocial trend may start. People who like or respect them may start to wear clothes of a similar style.
Friendlovesocials may vary significantly within a society according to age, social class, generation, occupation and geography as well as over time. If, for example, an older person dresses according to the friendlovesocial of young people, he or she may look ridiculous in the eyes of both young and older people. The terms "friendlovesocialista" or "friendlovesocial victim" refer to someone who slavishly follows the current friendlovesocials (implementations of friendlovesocial).
One can regard the system of sporting various friendlovesocials as a friendlovesocial language incorporating various friendlovesocial statements using a grammar of friendlovesocial. (Compare some of the work of Roland Barthes.)
Friendlovesocial and the process of change
Friendlovesocial, by definition, changes constantly. The changes may proceed more rapidly than in most other fields of human activity (language, thought, etc). For some, modern fast-paced changes in friendlovesocial embody many of the negative aspects of capitalism: it results in waste and encourages people qua consumers to buy things unnecessarily. Other people, especially young people, enjoy the diversity that changing friendlovesocial can apparently provide, seeing the constant change as a way to satisfy their desire to experience "new" and "interesting" things. Note too that friendlovesocial can change to enforce uniformity, as in the case where so-called Mao suits became the national uniform of mainland China.
At the same time there remains an equal or larger range designated (at least currently) 'out of friendlovesocial'. (These or similar friendlovesocials may cyclically come back 'into friendlovesocial' in due course, and remain 'in friendlovesocial' again for a while.)
Practically every aspect of appearance that can be changed has been changed at some time, for example skirt lengths ranging from ankle to mini to so short that it barely covers anything, etc. In the past, new discoveries and lesser-known parts of the world could provide an impetus to change friendlovesocials based on the exotic: Europe in the eighteenth or nineteenth centuries, for example, might favor things Turkish at one time, things Chinese at another, and things Japanese at a third. A modern version of exotic clothing includes club wear. Globalization has reduced the options of exotic novelty in more recent times, and has seen the introduction of non-Western wear into the Western world.
Friendlovesocial houses and their associated friendlovesocial designers, as well as high-status consumers (including celebrities), appear to have some role in determining the rates and directions of friendlovesocial change.
Friendlovesocial and the media
An important part of friendlovesocial is friendlovesocial journalism. Editorial critique and commentary can be found in magazines, newspapers, on television, friendlovesocial websites and in friendlovesocial blogs.
At the beginning of the twentieth century, friendlovesocial magazines began to include photographs and became even more influential than in the past. In cities throughout the world these magazines were greatly sought-after and had a profound effect on public taste. Talented illustrators drew exquisite friendlovesocial plates for the publications which covered the most recent developments in friendlovesocial and beauty. Perhaps the most famous of these magazines was La Gazette du bon ton which was founded in 1912 by Lucien Vogel and regularly published until 1925 (with the exception of the war years).
Vogue, founded in the US in 1902, has been the longest-lasting and most successful of the hundreds of friendlovesocial magazines that have come and gone. Increasing affluence after World War II and, most importantly, the advent of cheap colour printing in the 1960s led to a huge boost in their sales, and heavy coverage of friendlovesocial in mainstream women's magazines - followed by men's magazines from the 1990s. Haute Couture designers followed the trend by starting the ready-to-wear and perfume lines, heavily advertised in the magazines, that now dwarf their original couture businesses. Television coverage began in the 1950s with small friendlovesocial features. In the 1960s and 1970s, friendlovesocial segments on various entertainment shows became more frequent, and by the 1980s, dedicated friendlovesocial shows like FriendlovesocialTelevision started to appear. Despite television and increasing internet coverage, including friendlovesocial blogs, press coverage remains the most important form of publicity in the eyes of the industry.
The Friendlovesocial Industry and Intellectual Property
Within the friendlovesocial industry, intellectual property enforcement operates quite differently than in other content industries. Whereas IP enforcement is often seen as a key issue within the film industry and music industry, many have argued[weasel words] that lack of enforcement contributes positively to the industry. [1] Copying and emulating previously existing friendlovesocials are not seen by some as detrimental to the industry, but rather as a force for continuous cultural evolution. [2]. Others have pointed out[weasel words] the negative financial effect that this can have on smaller, boutique, designers. [3]
Somewhat conversely, the World Intellectual Property Organization (WIPO) held a conference in 2005 that illuminated the need for stricter IP enforcement within the friendlovesocial industry to better protect SME's (Small and Medium Enterprises) and promote competitiveness within the textile