Sunday 30 June 2013

Traditional Lehenga Designs Image Photo Pictures 2013

Traditional Lehenga Designs Definition

 Source(Google.com.pk)
A wedding is the ceremony in which two people are united in marriage or a similar institution. Wedding traditions and customs vary greatly between cultures, ethnic groups, religions, countries, and social classes. Most wedding ceremonies involve an exchange of wedding vows by the couple, presentation of a gift (offering, ring(s), symbolic item, flowers, money), and a public proclamation of marriage by an authority figure or leader. Special wedding garments are often worn, and the ceremony is sometimes followed by a wedding reception. Music, poetry, prayers or readings from religious texts or literature are also commonly incorporated into the ceremony.
A number of cultures have adopted the traditional Western custom of the white wedding, in which a bride wears a white wedding dress and veil. This tradition was popularized through the wedding of Queen Victoria. Some say Victoria's choice of a white gown may have simply been a sign of extravagance, but may have also been influenced by the values she held which emphasized sexual purity.Within the modern 'white wedding' tradition, a white dress and veil are unusual choices for a woman's second or subsequent wedding. The notion that a white gown might symbolize sexual purity has been long abandoned, and is criticized by etiquette writers like Judith Martin as distasteful.
The use of a wedding ring has long been part of religious weddings in Europe and America, but the origin of the tradition is unclear. Historians like Vicki Howard point out that belief in the "ancient" quality of the practice are most likely a modern invention. "Double ring" ceremonies are also a modern practice, a groom's wedding band not appearing in the United States until the early 20th century.
The wedding is often followed by a reception or wedding breakfast, in which the rituals may include speeches from the groom, best man, father of the bride and possibly the bride,the newlyweds first dance as spouses, and the cutting of a wedding cake.
It is the Shwe Shwe material that ensures the unmistakable traditional look even on the most modern African dress designs. The material has its roots in Southern Africa far back into history with indigo dyed material traded along the East coast. In more recent times the modern indigo dyes and acid printing techniques of German settlers and traders developed the traditional love for the material into the modern age with exclusive factories in Germany and England specially set up to supply South Africa with the Shwe Shwe cloth. The demand for this traditional material in southern Africa led to the exclusive rights for manufacture being obtained by a South African manufacturer who brought the printing and dying machines over from Europe to set up the exclusive rights in South Africa. Da Gama textiles still hold the exclusive rights to produce the original shwe shwe material and do so for the world market. The original indigo colour has been supplemented with a deep brown and a vibrant red. Discerning clients who know the secrets of the traditional material always look for the three cats or three leopard logo that confirms the genuine shwe shwe article.
Traditional African wear for women comes in a variety of styles and a surprising array of colours and prints. Colours vary from earth tones into vibrant colours such as indigos. Designs are from the flowing kaftan to the more traditional fitted African Queen outfits.
Today the designs have been adapted for modern life but have retained the characteristics that have made traditional African wear for women unique
The traditional African Kaftan or Boubou as originally worn by the West African men has a female version. African traditional wear for woman has developed and passed down from ancient Egypt. Cleopatra Queen of Egypt was famous for her silk kaftans embellished with prints, embroidery, small mirrors and amulets. Today the traditional African influence in woman's wear continues with a modern touch.
Fabrics are more commercial but the styling, design, colours and symbols used in the prints are as important
 ncorporate beaded and part of the gauteng povince in south africa are renowned for their colorful traditional clothing. Ilana got to try on a brown leather and red silk dress that was custom made for miss teen south africa sarah worked a very traditional piece of clothing that looked like an apron.
Northern suburbs, she is the face of a modern sangoma, as a traditional healer is known in south africa on someone else s behalf, bring tem of that person s clothing.
Traditional Lehenga Designs Image Photo Pictures 2013    
Traditional Lehenga Designs Image Photo Pictures 2013    
Traditional Lehenga Designs Image Photo Pictures 2013    
Traditional Lehenga Designs Image Photo Pictures 2013    
Traditional Lehenga Designs Image Photo Pictures 2013    
Traditional Lehenga Designs Image Photo Pictures 2013    
Traditional Lehenga Designs Image Photo Pictures 2013    
Traditional Lehenga Designs Image Photo Pictures 2013    
Traditional Lehenga Designs Image Photo Pictures 2013    
Traditional Lehenga Designs Image Photo Pictures 2013    
Traditional Lehenga Designs Image Photo Pictures 2013    

Silk Lehenga Designs Image Photo Pictures 2013

Silk Lehenga Designs  Definition        

 Source(Google.com.pk)
Clothing in India varies from region to region depending on the ethnicity, geography, climate and cultural traditions of the people of that region. Historically, men and women's clothing has evolved from simple Langotas and loincloths to cover the body to elaborate costumes not only used in daily wear but also on festive occasions as well as rituals and dance performances. In urban areas, western clothing is common and uniformly worn by people of all strata. India also has a great diversity in terms of weaves, fibres, colours and material of clothing. Colour codes are followed in clothing based on the religion and ritual concerned. For instance, Hindus lady's wear white clothes to indicate mourning whileParsis and Christians wear white to weddings.
Contents   [hide] 
1 History
2 Woman's clothing
2.1 Traditional clothing
2.1.1 Sari
2.1.2 Ghagra Choli (lehenga choli)
2.1.3 Salwar Kameez
2.1.4 Churidaar Kurta
2.1.5 Pattu Pavadai
2.1.6 Mundum Neriyathum
2.1.7 Mekhela Sador
3 Men's clothing
3.1 Traditional clothing
3.1.1 Dhoti
3.1.2 Lungi
3.1.3 Sherwani
3.1.4 Headgear
3.1.4.1 Dastar
3.1.4.2 Pheta
3.1.4.3 Mysore Peta
3.1.4.4 Rajasthani pagari
3.1.4.5 Gandhi cap
4 Contemporary clothing
5 Gallery
6 See also
7 Notes
8 References
9 Further reading
History[edit]



The Didarganj Yakshi depicting the dhoti wrap
India's recorded history of clothing goes back to the 5th millennium BC in the Indus Valley Civilisation where cotton was spun, woven and dyed. Bone needles and wooden spindles have been unearthed in excavations at the site.[1] The cotton industry in ancient India was well developed, and several of the methods survive until today. Herodotus, an ancient Greek historian described Indian cotton as "a wool exceeding in beauty and goodness that of sheep".[2] Indian cotton clothing was well adapted to the dry, hot summers of thesubcontinent. Most of the present knowledge of ancient Indian clothing comes from rock sculptures and paintings in cave monuments such as Ellora. These images show dancers and goddesses wearing what appears to be a dhoti wrap, a predecessor to the modern sari.The upper castes dressed themselves in fine muslin and wore gold ornaments[3] The Indus civilisation also knew the process of silk production. Recent analysis of Harappan silk fibres in beads have shown that silk was made by the process of reeling, a process known only to China until the early centuries AD.[4]
According to the Greek historian Arrian:[5]


The Buddha, in Greco-Buddhist style, 1st–2nd century CE,Gandhara(Modern eastern Afghanistan).
"The Indians use linen clothing, as says Nearchus, made from the flax taken from the trees, about which I have already spoken. And this flax is either whiter in colour than any other flax, or the people being black make the flax appear whiter. They have a linen frock reaching down halfway between the knee and the ankle, and a garment which is partly thrown round the shoulders and partly rolled round the head. The Indians who are very well-off wear earrings of ivory; for they do not all wear them. Nearchus says that the Indians dye their beards various colours; some that they may appear white as the whitest, others dark blue; others have them red, others purple, and others green. Those who are of any rank have umbrellas held over them in the summer. They wear shoes of white leather, elaborately worked, and the soles of their shoes are many-coloured and raised high, in order that they may appear taller."
Evidence from the 1st century AD shows some cultural exchanges with the Greeks. Indo-Greek influence is seen in the Greco-Buddhist art of the time. The Buddhas were portrayed as wearing the Greek himation, which is the forerunner of the modern saṃghāti that forms a part of the Kasaya of Buddhist monks.[6] During the Maurya andGupta period, the people continued to wear the three piece unstitched clothing as in Vedic times. The main items of clothing were the Antariya made of white cotton or muslin, tied to the waist by a sash called Kayabandh and a scarf called the Uttariya used to drape the top half of the body.[citation needed]
New trade routes, both overland and overseas, created a cultural exchange with Central Asia and Europe. Romans bought indigo for dyeing and cotton cloth as articles of clothing. Trade with China via the Silk road introduced silk textiles into India. The Chinese had a monopoly in the silk trade and kept its production process a trade secret. However, this monopoly ended when, according to legend, a Chinese princess smuggled mulberry seeds and silkworms in her headdress when she was sent to marry the king of Khotan (present day Xinjiang).[7] From there, the production of silk spread throughout Asia, and by AD 140, the practise had been established in India.Chanakya's treatise on public administration, the Arthashastra written around 3rd century BC, briefly describes the norms followed in silk weaving.[8]


Painting on wooden panel discovered by Aurel Stein in Dandan Oilik, depicting the legend of the princess who hid silk worm eggs in her headdress to smuggle them out of China to the Kingdom of Khotan.
A variety of weaving techniques were employed in ancient India, many of which survive to the present day. Silk and cotton were woven into various designs and motifs, each region developing its distinct style and technique. Famous among these weaving styles were theJamdani, Kasika vastra of Varanasi, butidar and the Ilkal saree.[citation needed] Brocades of silk were woven with gold and silver threads and were deeply influenced by Persian designs. The Mughals played a vital role in the enhancement of the art, and the paisley andLatifa Buti are fine examples of Mughal influence[9]
Dyeing of clothes in ancient India was practised as an art form. Five primary colours (Suddha-varnas) were identified and complex colours (Misra – varnas) were categorised by their many hues. Sensitivity was shown to the most subtlest of shades; the ancient treatise, Vishnudharmottara states five tones of white, namely Ivory, Jasmine, August moon, August clouds after the rain and the conch shell.[10] The commonly used dies were indigo(Nila), madder red and safflower[11][a]. The technique of mordant dyeing was prevalent in India since the second millennium BC.[12] Resist dyeing and Kalamkari techniques were hugely popular and such textiles were the chief exports.
Integral to the history of Indian clothing is the Kashmiri shawl. Kashmiri shawl varieties include the Shahtoosh, popularly known as the 'ring shawl' and the pashmina wool shawls, historically called pashm. Textiles of wool finds mention as long back as the Vedic times in association with Kashmir; the Rig Veda refers to the Valley of Sindh as being abundant in sheep[citation needed] [b], and the god Pushanhas been addressed as the 'weaver of garments',[13] which evolved into the term pashm for the wool of the area. Woolen shawls have been mentioned in Afghan texts of the 3rd century BC, but reference to the Kashmir work is done in the 16th century AD. The sultan of Kashmir, Zain-ul-Abidin is generally credited with the founding of the industry.[14] Ctesias records that the Roman emperor Aurelianreceived a purple pallium from a Persian king, made of Asian wool of the finest quality.[15] The shawls were dyed red or purple, red dye procured from cochineal insects and purple obtained by a mixture of red and blue from indigo[16] The most prized kashmiri shawls were the Jamavar and the Kanika Jamavar, woven using weaving spools with coloured thread called kani and a single shawl taking more than a year for completion and requiring 100 to 1500 kanis depending on the degree of elaboration.[13]
Indian textiles were traded from ancient times with China, Southeast Asia and the Roman Empire. The Periplus of the Erythraean Seamentions mallow cloth, muslins and coarse cottons[17][c]. Port towns like Masulipatnam and Barygaza won fame for its production of muslins and fine cloth. Trade with the Arabs who were middlemen in the spice trade between India and Europe brought Indian textiles into Europe, where it was favored by royalty in the 17th–18th century.[18] The Dutch, French and British East India Companies competed for monopoly of the spice trade in the Indian Ocean, but were posed with the problem of payment for spices, which was in gold or silver. To counter this problem, bullion was sent to India to trade for the textiles, a major portion of which were subsequently traded for spices in other trade posts, which then were traded along with the remaining textiles in London. Printed Indian calicos, chintz, muslins and patterned silk flooded the English market and in time the designs were copied onto imitation prints by English textile manufacturers, reducing the dependence on India.[19]
The British rule in India and the subsequent oppression following the Bengal Partition sparked a nationwide Swadeshi movement. One of the integral aims of the movement was to attain self-sufficiency, and to promote Indian goods while boycotting British goods in the market.[20] This was idealised in the production of Khadi. Khadi and its products were encouraged by the nationalist leaders over British goods, while also being seen as a means to empower the rural artisans.[21]
Woman's clothing[edit]

In India, woman's clothing varies widely and is closely associated with the local culture, religion and climate.
Traditional Indian clothing for women in the north and east are saris or ghagra cholis and (lehengas)[citation needed] while many south Indian women traditionally wear sari and children wear pattu pavadai.[citation needed] Saris made out of silk are considered the most elegant. Mumbai, formerly known as Bombay, is one of India's fashion capitals.[citation needed] In many rural parts of India, traditional clothing is worn. Women wear a sari, a long sheet of colourful cloth, draped over a simple or fancy blouse. Little girls wear a pavada. Both are often patterned. Bindi is a part of women's make-up.[citation needed] Indo-western clothing is the fusion of Western andSubcontinental fashion. Churidar, dupatta, Khara Dupatta, gamchha, kurta, mundum neriyathum, sherwani are among other clothes.
The traditional style of clothing in India varies with male or female distinctions. This is still followed in the rural areas, though is changing in the urban areas. Girls before puberty wear a long skirt (called langa/paawada in Andhra) and a short blouse, called a choli, above it.
Traditional clothing[edit]
Sari[edit]


Vidya Balan wearing silk sari at a wedding
Main article: Sari
A saree or sari[22][23] is a female garment in the Indian subcontinent.[24] A sari is a strip of unstitched cloth, ranging from four to nine meters in length, that is draped over the body in various styles. There are various traditional styles of saree: Sambalpuri Saree from East, Kanchipuram from South, Paithani from West and Banarasi from North among others.[25] The most common style is for the sari to be wrapped around the waist, with one end then draped over the shoulder baring the midriff.[24] The sari is usually worn over a petticoat.[26] Blouse may be "backless" or of a halter neck style. These are usually more dressy with a lot of embellishments such as mirrors or embroidery and may be worn on special occasions. Women in the armed forces, when wearing a sari uniform, don a half-sleeve shirt tucked in at the waist. Teenage girls wear half-sarees, a three piece set consisting of a langa, a choli and a stolewrapped over it like a saree. Women usually wear full sarees.
Saris are usually known with different names in different places. In Kerala, white saris with golden border, are known as kavanis and are worn on special occasions. A simple white sari, worn as a daily wear, is called a mundu. Saris are called pudavai in Tamil Nadu. In Karnataka, saris are called kupsas.[27]
Ghagra Choli (lehenga choli)[edit]


A fully embriodered pink ghagra choli
Main article: Ghagra choli
A Ghagra Choli or a Lehenga Choli is the traditional clothing of women in Rajasthan andGujarat.[citation needed] Punjabis also wear them and they are used in some of their folk dances. It is a combination of lehenga, a tight choli and an odhani. A lehenga is a form of long skirt which is pleated. It is usually embroidered or has a thick border at the bottom. Acholi is a blouse shell garment, which is cut to fit to the body and has short sleeves and a low neck.
Different styles of ghagra cholis are worn by the women, ranging from a simple cotton lehenga choli as a daily wear, a traditional ghagra with mirrors embellished usually worn during navratri for the garba dance or a fully embroidered lehenga worn during marriage ceremonies by the bride.
Popular among unmarried women other than shalwar kameez are Gagra choli and Langa odhani.[28]
Salwar Kameez[edit]


Sonakshi Sinha in salwar kameez
Main article: Salwar kameez
Salwar is a generic description of the lower garment incorporating the Sindhi suthan, Dogri pajamma and the Kashmiri suthan.
The Salwar kameez is the traditional wear of women in Punjab, Haryana and Himachal Pradesh. The suthan, similar to the salwar is common in Sindh and Kashmir[29]. The salwar kameez has become the most popular dress for females. It consists of loose trousers (the salwar) narrow at the ankles, topped by a tunic top (the kameez).[29] It is named as "Punjabi suit" or simply "shalwar" in the north and "churidaar" in Southern India.[30] Women generally wear a dupatta or odani (Veil) with salwar kameez to cover their head and shoulders.[29] It is always worn with a scarf called a dupatta, which is used to cover the head and drawn over the bosom. The material for the dupatta usually depends upon that of the suit, and is generally of cotton, georgette, silk, chiffon among others.[citation needed] This dress is worn by almost every teenage girl in lieu of western clothes. The salwar kameez is most common in the northwestern part of India. Many actresses wear the salwar kameez in Bollywood movies.[citation needed]
Churidaar Kurta[edit]


Plain Churidaar kurta (left) Anarkali style churidaar kurta (right)
Main article: Churidaar
Churidaar is a version of salwar, which is loose up to knees and then fits the calf below. A salwar is a baggy pyjama with pleats which gets narrow at the ankles whereas churidaar fits below the knees with horizontal gathers near the ankles.[31] Usually a long kurta, which goes below the knees, is worn with the churidaar.
Pattu Pavadai[edit]


Girl wearing Pattu Pavadai
Main article: Pattu pavadai
Pattu Pavadai or Langa davani is a traditional dress in south India and Rajasthan, usually worn by teenage and small girls. The pavada is a cone-shaped garment, usually of silk, that hangs down from the waist to the toes. It normally has a golden border at the bottom.
Girls in south India often wear pattu pavadai or Langa davani during traditional functions. Girls in Rajasthan wears this dress before marriage (and after marriage with sight modification in certain section of society. )
Mundum Neriyathum[edit]


A painting depicting a Woman in Mundum Neriyathum
Main article: Mundum Neriyathum
Mundum Neriyathum is the oldest remnant of the ancient form of the saree which covered only the lower part of the body, a traditional dress of women in Kerala, South India.[32][33] The basic traditional piece is the mundu or lower garment which is the ancient form of the saree denoted in Malayalam as 'Thuni' (meaning cloth), while the neriyathu forms the upper garment the mundu.[32][33]
Mekhela Sador[edit]
Main article: Mekhela chador
Mekhela Sador (Assamese: মেখেলা চাদৰ) is the traditional Assamese dress worn by women. It is worn by women of all ages.
There are three main pieces of cloth that are draped around the body.
The bottom portion, draped from the waist downwards is called the Mekhela (Assamese: মেখেলা). It is in the form of a sarong—very wide cylinder of cloth—that is folded into pleats to fit around the waist and tucked in. The folds are to the right, as opposed to the pleats in the Nivi style of the saree, which are folded to the left. Strings are never used to tie the mekhela around the waist, though an underskirt with a string is often used.
The top portion of the three-piece dress, called the Sador (Assamese: চাদৰ), is a long length of cloth that has one end tucked into the upper portion of the Mekhela and the rest draped over and around the rest of the body. The Sador is tucked in triangular folds. A fitted blouse is worn to cover the breasts.
The third piece is called a Riha, which is worn under the Sador. It is narrow in width. This traditional dress of the Assamese women are very famous for their exclusive patterns on the body and the border. Women wear them during important religious and ceremonious occasions of marriage. Riha is worn exactly like a Sador and is used as Orni.
Men's clothing[edit]


A Chakravartin wears a panchain an ancient style. Circa first century BCE/CE. Amaravati, Andhra Pradesh. Musee Guimet

Mahatma Gandhi at Dandi, 5 April 1930, at the end of the Salt March
Traditional clothing[edit]
For men, traditional clothes are the Sherwani, Lungi, Kurta and Dhoti orPajama. Also, most recently Pant and shirt have also been accepted as traditional Indian dress by the Government of India.[34]
Dhoti[edit]
Main article: Dhoti
A dhoti is from four to six feet long white or colour strip of cotton. This traditional attire is mainly worn by men in villages.[35] It is held in place with the help of a belt, ornamental and embroidered or a flat and simple one, around the waist.[36]
In south India men wear long, white sarong like sheets of cloth known as Mundu. In north and central Indian languages like Hindi,Marathi and Oriya, these are called dhothi, while in Telugu they are called Pancha, in Tamil they are called veshti and in Kannada it is called Panche/Lungi. Over the dhoti, men wear shirts.
Lungi[edit]


A person togged in a mundu
Main article: Lungi
A Lungi, also known as sarong, is a traditional garment of India. A Mundu is a lungi except that, it is always white.[36] It is either tucked in, over the waist, up to knee-length or is allowed to lay over and reach up to the ankle. It is usually tucked in when the person is working, in fields or workshops, and left open usually as a mark of respect, in worship places or when the person is around dignitaries.
Lungis, generally, are of two types: the open lungi and the stitched lungi. The open lungi is a plain sheet of cotton or silk, whereas, the stitched one has both of its open ends stitched together to form a tube like structure.
Though mostly worn by men, elderly women also prefer lungi to other garments owing to its good aeration.[37] It is mostly popular in south India, though people of Bangladesh, Brunei, Indonesia, Malaysia, Myanmar and Somalia also can be seen in lungis, because of the heat and humidity, which create an unpleasant climate for trousers, though trousers have now become common outside the house.[38]
Sherwani[edit]
Main article: Sherwani


Sonu Nigam wearing sherwani at his concert
A Sherwani is a long coat / jacket that usually sports exposed buttons through the length of the placket. The length is usually just below the knees and the jacket ends around high on the calf. The jacket has a Nehru collar,[39] which is a collar that stands up.[citation needed]The Sherwani is worn with tight fitting pants or trousers called churidars. Churidars are trousers that are loose around the hips and thighs, but are tight and gathered around the ankle.[34] Sherwani is usually worn during the wedding ceremonies by the groom and is usually cream, light ivory, or gold coloured[citation needed]. It may be embroidered with gold or silver. A scarf called a dupatta is sometimes added to the sherwani.
Headgear[edit]
The Indian turban or the pagri is worn in many regions in the country, incorporating various styles and designs depending on the place. Other types of headgear such as the Taqiyah and Gandhi cap are worn by different communities within the country to signify a common ideology or interest.
Dastar[edit]
Main article: Dastar

The Dastar, also known as pagri, is a turban worn by the Sikh community of India. Is a symbol of faith representing values such as valour, honour and spirituality among others. It is worn to protect the Sikh's long, uncut hair, the Kesh which is one of the Five Ks of Sikhism.[40] Over the years, the dastar has evolved into different styles pertaining to the various sects of Sikhism such as the Nihang and theNamdhari.[41]
Pheta[edit]
Main article: Pheta (turban)
Pheta is the Marathi name for turbans worn in the state of Maharashtra. Its usually worn during traditional ceremonies and occasions. It was a mandatory part of clothing in the past and have evolved into various styles in different regions.[42] The main types are the Puneri Pagadi, Kolhapuri and Mawali pheta.[42]
Mysore Peta[edit]
Main article: Mysore Peta


Bharat RatnaMokshagundam Vishveshwaraiah in traditional Mysore Peta
Originally worn by the kings of Mysore during formal meeting in durbar and in ceremonial processions during festivals, and meeting with foreign dignitaries, the Mysore peta has come to signify the cultural tradition of the Mysore and Kodagu district.[43] The Mysore University replaced the conventionalmortarboard used in graduation ceremonies with the traditional peta.[44]
Rajasthani pagari[edit]
Turbans in Rajasthan are called pagari. They are distinctive in style and colour, and indicate the caste, social class and region of the wearer. In the hot and dry regions, turbans are large and loose. The paggar is traditional in Mewar while the safa is to Marwar.[45] The colour of the pagaris have special importance and so does the pagari itself. In the past, saffron stood for valour and chivalry. A white turban stood for mourning. The exchange of a turban meant undying friendship.[46][47]
Gandhi cap[edit]
Main article: Gandhi cap


Bose Gandhi 1938 wearing a gandhi topi
The Gandhi cap, a white coloured cap made of khadi was popularised by Mahatma Gandhiduring the Indian independence movement. The practice of wearing a Gandhi cap was carried on even after independence and became a symbolic tradition for politicians and social activists. The cap has been worn throughout history in many states such as Gujarat,Maharashtra, Uttar Pradesh and West Bengal and is still worn by many people without political significance.
Contemporary clothing[edit]


Parineeti Chopra
Western clothing made its foray into the Indian society during the times of the British Raj. Indian professionals opted to wear western clothing due to its relative comfort or due to regulations set then. By the turn of the 21st century, both western and Indian clothing had intermingled creating a unique style of clothing for the typical urban Indian population. Women started wearing more comfortable clothing and exposure to international fashion led to a fusion of western and Indian styles of clothing. Following the economic liberalisation, more jobs opened up, and created a demand for formal wear.
Women's clothing nowadays consist of both formal and casual wear such as gowns, pants, shirts and tops. Traditional Indian clothing such as the kurti have been combined with jeans to form part of casual attire. Fashion designers in India have blended several elements of Indian traditional designs into conventional western wear to create a unique style of contemporary Indian fashion. Both mini skirts and shorts are now worn by girls in bigger urban areas.[
Silk Lehenga Designs Image Photo Pictures 2013    
Silk Lehenga Designs Image Photo Pictures 2013    
Silk Lehenga Designs Image Photo Pictures 2013    
Silk Lehenga Designs Image Photo Pictures 2013    
Silk Lehenga Designs Image Photo Pictures 2013    
Silk Lehenga Designs Image Photo Pictures 2013    
Silk Lehenga Designs Image Photo Pictures 2013    
Silk Lehenga Designs Image Photo Pictures 2013    
Silk Lehenga Designs Image Photo Pictures 2013    
Silk Lehenga Designs Image Photo Pictures 2013    
Silk Lehenga Designs Image Photo Pictures 2013    

Designer Choli Image Photo Pictures 2013

Designer Choli  Definition   

 Source(Goole.com.pk)

A choli (Hindi: चोली), (ravike in South India Telugu: రవికె, Kannada: ರವಿಕೆ) is a midriff-baring blouse shell garment in the Indian sari costume worn in India, Pakistan, Sri Lanka, Bangladesh, and other countries where the sari is worn. The choli is cut to fit tightly to the body and has short sleeves and a low neck. The choli is usually cropped, allowing exposure of the navel; the cropped design is particularly well-suited for wear in the hot South Asian summers. Cut-out backs and front-opening buttons are some of the features of contemporary designs.[5]
Lehenga[edit]



Illustration of different regional variations of Ghagra choli worn by women in India.
Lehenga or Ghagra[6] is a form of skirt which is long, embroidered and pleated. It is worn as the bottom portion of a Gagra choli. It is secured at the waist and leaves the lower back and midriff bare.[7] The ancient version of skirt or Ghagri evolved from Bhairnivasani, which in turn evolved from the Antariya when stitched on one side became tabular and was worn gathered together at the waist, and held by a girdle. This was one of the earliest forms of a clumsily stitched skirt. It was worn using drawstring or nada. The ghagri was a narrow skirt six feet long the same length as original antariya. This style can still be seen worn by Jain nuns in India.
Fabrics[edit]
The lehengas are made of a number of fabrics such as Silk, Cotton, Khadi,[8] Georgette, Crape, Net, Satin, Brocade and Chiffon.[9] Even though designers have successfully used the various kinds of fabrics for making the lehenga, silk is still the most preferred fabric.
Decorative stitching[edit]
Apart from the fabric, decorative stitching patterns also play a role. Lehengas come with a wide variety of decoration and embroidery work like Gota, Phulkari, Shisha, Chikankari, Zari, Zardozi, Nakshi, Kundan, etc.[10] For festivals like Navratri, the ethnic Shisha embroidery is popular with a bit of patchwork. For formal wear and weddings, the embroidery is heavier in pearls, silk, sequins and zari.[8]
Kutch embroidery is an evolving expression of the craft and textile traditions of the Rabaris, a nomadic tribe in Gujarat.Kutch work is unique in the sense that a net is woven on a cloth using thread.The net is then filled in using the same thread by intricate interlocking stitches. The patterns are usually built around geometric shapes.This embroidery follows its own traditional design logic and juxtaposition of colours and motifs.[11] The Rohanas tribals of Kutch specialise in skirt work. The Sodhas use a geometric style for their embroidery. The Garacia Jats are experts in tiny embroidery on the yoke, which intermingles with red, orange, blue and green threads. The Dhanetah Jats love embroidering broad pear-shaped mirrors using orange, black, yellow and red in chain stitch.[8]
Significance in rite of passage[edit]
In South India coming of age ceremony or rites of passage (Langa Voni Telugu: లంగా వోని, Pattu Pavadai Tamil: பட்டு பாவாடை, Langa Davani Kannada: ಲಂಗ ದ್ವನಿ). Is celebrated when a girl reaches puberty. She wears Langa Voni given by her maternal grandparents, which is worn during the first part of the ceremony and then she is gifted her first Sari by her paternal grandparents, which she wears during the second half of the ceremony. This marks her transition into womanhood.
The tradition of giving Langa Voni by maternal grandparents begins with the girl's first naming ceremony Namakaran and her first rice feeding ceremony called Annaprashana. She receives her last one at her coming of age ceremony. Langa Voni is traditional clothing for unmarried girls in South India.
Luanchari[edit]


Pahari painting depicting women in Luanchari. ca.1760
Luanchari (Hindi:लौन्चारी) is a full-dress garment. The Luanchari is made up of two parts, the upper part is called choli it is made of the same fabric as of the lehanga but it is not uncommon to find the two pieces of the garment in different colours. The choli is stitched to the lehanga, to make one-piece luanchari. That one finds commonly worn by the women in Pahari miniatures, and is quite similar to lehanga.[12] It takes well over 16 to 21 yards to make a complete Luanchari.[13] It is traditional garment worn by Gaddis of Himachal Pradesh.[12]
Festive attire[edit]

The lehenga choli is the favourite female apparel worn during festivals, weddings or special events in India. This is due to traditions as well as of the fact that it is available in a number of fabrics with many different decorative choices.[14] Traditionally the sari and the lehenga choli are the most popular garments for the bride in India.[15] But it is a common bridal attire mostly in North India.It is the traditional wear of Garba ( most famous festival of Gujarat).

Designer Choli Image Photo Pictures 2013             
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Designer Choli Image Photo Pictures 2013             
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Lehenga Designs With Price Image Photo Pictures 2013

Lehenga Designs With Price Definition

Source(Google.com.pk)
Innumerable variety of dresses have been conceived to bring out the beauty of a woman but few dresses can accentuate the beauty of a woman as much as a saree can! With the worldwide web fast emerging as a special destination amongst shoppers’ world wide, its time you  made an effort to explore this exciting option to select the perfect brocade salwar kameez sets that will surely add sparkle to your wardrobe.

Exploring shopping catalogues online introduces you to a wide variety of designs in a fraction of time that you would otherwise have spent in local markets or shopping malls. Moreover, when you make a trip to the market, merchants often introduce you to designs that carry the highest margins. There is an outside chance that you may miss out on some cotton sarees that might be graceful and affordable as well. To solve this dilemma amongst shoppers, a few innovative portals have integrated online shopping carts in their websites that allow users to browse a multitude of designs and order them with a few clicks.

The best part about these online shopping portals is that they let users save a lot of time and energy. They can search for the best Georgette Lehenga Choli based on the type of fabric that suits their style preferences the most. These online portals offer users the facility to select from a wide range of Crepe, Jamawar, Net Lehengas, Tissue, Velvet, Viscose, Georgette Lehengas, Silk and Jacquard Lehengas that not only reflect their personal style but are affordable as well.

Not just Georgette Lehenga Cholis, customers can also search for brocade salwar kameez sets and Cotton sarees on these websites. For those who do not have any preferences for a particular type of fabric but just want to buy the dress they have set their hearts on can also choose their favourite designs by price.

Online Shopping is now as easy as saying 1-2-3.
All  users need to do is to  browse their favourite portal, select the design of their choice; add the items to the shopping cart and proceed for purchase after verifying their payment and delivery details. If you haven’t tried shopping for traditional Cotton Sarees, Georgette Lehenga Cholis and brocade salwar kameez sets on the web till now; try it out today. Its fairly secure as new-age online portals have an online registration functionality embedded within their websites where only known or registered users are allowed to proceed with the checkout process. During the check out process users can either choose to fill a measurement form online or send in a sample ‘best fit’ garment thereby ensuring that they get products that fulfill their expectations. Once the payment has been accepted online, the completed outfit will be delivered to their doorstep within a few working days.


 Try this unique shopping platform today and tell us about your experience on this forum.
Lehenga Designs With Price Image Photo Pictures 2013    
Lehenga Designs With Price Image Photo Pictures 2013    
Lehenga Designs With Price Image Photo Pictures 2013    
Lehenga Designs With Price Image Photo Pictures 2013    
Lehenga Designs With Price Image Photo Pictures 2013    
Lehenga Designs With Price Image Photo Pictures 2013    
Lehenga Designs With Price Image Photo Pictures 2013    
Lehenga Designs With Price Image Photo Pictures 2013    
Lehenga Designs With Price Image Photo Pictures 2013    
Lehenga Designs With Price Image Photo Pictures 2013    
Lehenga Designs With Price Image Photo Pictures 2013    

Fashion And You Image Photo Pictures 2013

Fashion And You Definition 

 Source(Goole.com.pk)

Fashion is a general term for a popular style or practice, especially in clothing, footwear, accessories, makeup, body piercing, or furniture. Fashion refers to a distinctive and often habitual trend in the style with which a person dresses, as well as to prevailing styles in behaviour. Fashion also refers to the newest creations of textile designers.[1] The more technical term, costume, has become so linked to the term "fashion" that the use of the former has been relegated to special senses like fancy dress or masquerade wear, while "fashion" means clothing more generally and the study of it. Although aspects of fashion can be feminine or masculine, some trends are androgynous.[2][3]
Contents  [hide] 
1 Clothing fashions
2 Fashion industry
3 Media
4 Anthropological perspective
5 Intellectual property
6 Fashion for a cause
7 See also
8 References
9 Bibliography
10 Further reading
11 External links
Clothing fashions[edit]



2008 Ed Hardy runway show
Main article: History of Western fashion
Early Western travelers, whether to Persia, Turkey, India, or China frequently remark on the absence of changes in fashion there, and observers from these other cultures comment on the unseemly pace of Western fashion, 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.[4] However in Ming China, for example, there is considerable evidence for rapidly changing fashions in Chinese clothing.[5] Changes in costume often took place at times of economic or social change (such as in ancient Rome and the medieval Caliphate), but then a long period without major changes followed. This occurred in Moorish Spain from the 8th century, when the famous musician Ziryab introduced sophisticated clothing-styles based on seasonal and daily fashion from his native Baghdad and his own inspiration to Córdoba in Al-Andalus.[6][7] Similar changes in fashion occurred in the Middle East from the 11th century, following the arrival of the Turks, who introduced clothing styles from Central Asia and the Far East.[8]
The beginnings of the habit in Europe of continual and increasingly rapid change in clothing styles can be fairly reliably dated to the middle of the 14th century, to which historians including James Laver and Fernand Braudel date the start of Western fashion in clothing.[9][10] 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 to look bigger. This created the distinctive Western male outline of a tailored top worn over leggings or trousers.
The pace of change accelerated considerably in the following century, and women and men's fashion, especially in the dressing and adorning of the hair, became equally complex and changing. Art historians are therefore able to use fashion in dating images with increasing confidence and precision, often within five years in the case of 15th century images. Initially changes in fashion 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. These remained very different until a counter-movement in the 17th to 18th centuries imposed similar styles once again, mostly originating from Ancien Régime France.[11] Though the rich usually led fashion, 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 fashion.[12]


Albrecht Dürer's drawing contrasts a well turned out bourgeoise from Nuremberg (left) with her counterpart from Venice. The Venetian lady's high chopines make her look taller.
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 fashions 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.[13]
Though colors and patterns of textiles changed from year to year,[14] 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 fashions largely derived from military models, and changes in a European male silhouette are galvanized in theaters of European war, where gentleman officers had opportunities to make notes of foreign styles: an example is the "Steinkirk" cravat or necktie.


Marie Antoinette, wife of Louis XVI, leader of fashion
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 16th century, and Abraham Bosse had produced engravings of fashion 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.[15]
Although tailors and dressmakers were no doubt responsible for many innovations before, and the textile industry certainly led many trends, the history of fashion design is normally taken to date from 1858, when the English-born Charles Frederick Worth opened the first true haute couture house in Paris. The Haute house was the name established by government for the fashion houses that met the standards of industry. They have to adhere to standards such as: keeping at least 20 employees engaged in making the clothes, showing two collections per year at fashion shows, and presenting a certain number of patterns to costumers.[16] Since then the professional designer has become a progressively more dominant figure, despite the origins of many fashions in street fashion. For women the flapper styles of the 1920s marked the most major alteration in styles for several centuries, with a drastic shortening of skirt lengths and much looser-fitting clothes; with occasional revivals of long skirts, variations of the shorter length have remained dominant ever since. Flappers also wore cloches, which were snug fitting and covered the forehead. Her shoes had a heel and some sort of buckle. The most important part was the jewelry, such as: earrings and necklaces that had diamonds or gems. The flapper gave a particular image as being seductive due to her short length dress, which was form fitting, and the large amounts of rich jewelery around her neck.
The four major current fashion capitals are acknowledged to be Paris, Milan, New York City, and London, which are all headquarters to the greatest fashion companies and are renowned for their major influence on global fashion. Fashion weeks are held in these cities, where designers exhibit their new clothing collections to audiences. A succession of major designers such as Coco Chanel and Yves Saint-Laurent have kept Paris as the center most watched by the rest of the world, although haute couture is now subsidized by the sale of ready to wear collections and perfume using the same branding.
Modern Westerners have a wide number of choices available in the selection of their clothes. What a person chooses to wear can reflect that person's personality or interests. When people who have cultural status start to wear new or different clothes, a fashion trend may start. People who like or respect them become influenced by their personal style, and begin wearing clothes of similar styling. Fashions may vary considerably 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 fashion of young people, he or she may look ridiculous in the eyes of both young and older people. The terms fashionista and fashion victim refer to someone who slavishly follows current fashions.


Two girls in g-string-bikinis on runway
One can regard the system of sporting various fashions as a fashion language incorporating various fashion statements using a grammar of fashion. (Compare some of the work of Roland Barthes.)
In recent years, Asian fashion has become increasingly significant in local and global markets. Countries such as China, Japan, India, and Pakistan have traditionally had large textile industries, which have often been drawn upon by Western designers, but now Asian clothing styles are also gaining influence based on their own ideas.[17]
Fashion industry[edit]



The fashion industry is a product of the modern age. Prior to the mid-19th century, most clothing was custom made. It was handmade for individuals, either as home production or on order from dressmakers and tailors. By the beginning of the 20th century—with the rise of new technologies such as the sewing machine, the rise of global capitalism and the development of the factory system of production, and the proliferation of retail outlets such as department stores—clothing had increasingly come to be mass-produced in standard sizes and sold at fixed prices. Although the fashion industry developed first in Europe and America, today it is an international and highly globalized industry, with clothing often designed in one country, manufactured in another, and sold world-wide. For example, an American fashion company might source fabric in China and have the clothes manufactured in Vietnam, finished in Italy, and shipped to a warehouse in the United States for distribution to retail outlets internationally. The fashion industry has long been one of the largest employers in the United States, and it remains so in the 21st century. However, employment declined considerably as production increasingly moved overseas, especially to China. Because data on the fashion industry typically are reported for national economies and expressed in terms of the industry’s many separate sectors, aggregate figures for world production of textiles and clothing are difficult to obtain. However, by any measure, the industry accounts for a significant share of world economic output.
The fashion industry consists of four levels: the production of raw materials, principally fibers and textiles but also leather and fur; the production of fashion goods by designers, manufacturers, contractors, and others; retail sales; and various forms of advertising and promotion. These levels consist of many separate but interdependent sectors, all of which are devoted to the goal of satisfying consumer demand for apparel under conditions that enable participants in the industry to operate at a profit.
Media[edit]

The media plays a very significant role when it comes to fashion. For instance, an important part of fashion is fashion journalism. Editorial critique, guidelines and commentary can be found in magazines, newspapers, on television, fashion websites, social networks and in fashion blogs. In the recent years, fashion blogging and YouTube videos have become a major outlet for spreading trends and fashion tips. Through these media outlets, readers and viewers all over the world can learn about fashion, making it very accessible.[18]
At the beginning of the 20th century, fashion magazines began to include photographs of various fashion designs and became even more influential on people than in the past. In cities throughout the world these magazines were greatly sought-after and had a profound effect on public clothing taste. Talented illustrators drew exquisite fashion plates for the publications which covered the most recent developments in fashion 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 United States in 1892, has been the longest-lasting and most successful of the hundreds of fashion magazines that have come and gone. Increasing affluence after World War II and, most importantly, the advent of cheap color printing in the 1960s led to a huge boost in its sales, and heavy coverage of fashion in mainstream women's magazines—followed by men's magazines from the 1990s. One such example of Vogue's popularity is the younger version, Teen Vogue, which provides clothing and trends that are more targeted toward the "fashionista on a budget". 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 fashion features. In the 1960s and 1970s, fashion segments on various entertainment shows became more frequent, and by the 1980s, dedicated fashion shows such as Fashion-television started to appear. FashionTV was the pioneer in this undertaking and has since grown to become the leader in both Fashion Television and New Media Channels compared to other Fashion Magazines. Despite television and increasing internet coverage, including fashion blogs, press coverage remains the most important form of publicity in the eyes of the fashion industry.
However, over the past several years, fashion websites have developed that merge traditional editorial writing with user-generated content. Online magazines like iFashion Network, and Runway Magazine, led by Nole Marin from America's Next Top Model, have begun to dominate the market with digital copies for computers, iPhones, and iPads. Example platforms include Apple and Android for such applications.
A few days after the 2010 Fall Fashion Week in New York City came to a close, The New Islander's Fashion Editor, Genevieve Tax, criticized the fashion industry for running on a seasonal schedule of its own, largely at the expense of real-world consumers. "Because designers release their fall collections in the spring and their spring collections in the fall, fashion magazines such as Vogue always and only look forward to the upcoming season, promoting parkas come September while issuing reviews on shorts in January", she writes. "Savvy shoppers, consequently, have been conditioned to be extremely, perhaps impractically, farsighted with their buying."[19]
Ethnic Fashion is defined as the Fashion of Multicultural groups such as African-American, Latino, Asians, etc. Examples of ethnic designers are FUBU, Baby Phat, Phat Farm, Sean John, Etc. It is estimated that Ethnic Fashion has contributed over $25 billion in revenues, thus making it an important part of the fashion industry.
Anthropological perspective[edit]

Anthropology, the study of culture and human societies, studies fashion by questioning why a certain styles are deemed socially appropriate and others not. A certain way is chosen and that becomes the fashion as defined by a certain people as a whole, so if a particular style has a meaning in an already occurring set of beliefs that style will become fashion.[20] According to Ted Polhemus, and Lynn Procter, fashion can be described in terms of adornment of which there are two types: fashion and anti-fashion. Through the capitalization and commoditisation of clothing, accessories, and shoes etc. what constituted anti-fashion has now become part of fashion as the lines between fashion and anti-fashion are being blurred.[21]
The definition of fashion and anti-fashion is as thus. Anti-fashion is fixed and changes little overtime. Anti-fashion is different depending on which cultural or social group one is associated with or where one lives but within that group or locality the style changes little and stays constant. Fashion is the exact opposite of anti-fashion. Fashion changes very quickly and is not affiliated with one group or an area of the world but is spread out throughout the world wherever people can communicate easily with each other. For example, the 1953 Queen Elizabeth II’s coronation gown is an example of anti-fashion because it is traditional and does not change over any period; whereas, a gown from fashion designer Dior’s collection of 1953 is fashion because it will change every season as Dior comes up with a new gown to replace the old one. In the Dior gown the length, cut, fabric, and embroidery of the gown changes for season to season and does not stay the same. Anti-fashion is concerned with maintaining the status quo while fashion is concerned with social mobility. Time is expressed in terms of continuity in anti-fashion and as change in fashion. Fashion has changing modes of adornment while anti-fashion has fixed modes of adornment. Indigenous and peasant modes of adornment are an example of anti-fashion. Change in fashion is part of the larger system and is structured to be a deliberate change in style.[22]
In today’s society people in rich countries are linked to people in poor countries through the commoditisation and consumption of what can be called fashion. In one area of the globe people are working long hours to produce things that people in another part of the globe are anxious to consume. The chain of production and consumption of Nike shoes is an example of this. The Nike shoes are produced in Taiwan and consumed in North America. In the production end there is the nation building a hard working ideology that leads people to produce and entices people to consume with a vast amount of goods for the offering. Commodities are no longer just utilitarian but are fashionable, be they running shoes or sweat suits.[23]
The change from anti-fashion to fashion because of the influence of western capitalist civilization can be best seen in eastern Indonesia. The ikat textiles of the Ngada area of eastern Indonesia are changing because of modernization and development happening in that area. Traditionally in the Ngada area there was no idea similar to that of the Western idea of fashion. But anti-fashion in the form of traditional textiles and ways to adorn oneself were widely popular. Textiles in Indonesia have played many roles for the local people. Textiles defined a person’s rank and status and indicated being part of the ruling class. People expressed their ethnic identity and social hierarchy through textiles in Indonesia. The ikat textiles were also bartered for food by some people of Indonesia thus being considered economic goods. Textiles took on many different forms in the social custom and religion of the Indonesian people. Textiles were also a way to communicate religious messages as some motifs had spiritual religious meanings according to the local culture.[24]
In eastern Indonesia there has been a transformation in the production and use of the traditional textiles as the production, use and value associated to textiles changes due to modernization. In the past women produced the textiles for either consuming the textiles by themselves and their families or to trade with others. Today this has changed as most textiles are not being produced at home. Because of colonialism in the past by the Dutch, western goods are considered modern and valued more than traditional goods. Because of this western clothing is valued more than the traditional sarong. Sarongs are now used only for rituals and ceremonial occasions; whereas, western clothes are worn to church or visiting a government office. Civil servants in the town are more likely to make this distinction between western and traditional clothes more than peasants. Upon Indonesia’s independence from the Dutch people increasingly started buying factory made shirts and sarongs. In textile producing areas the growing of cotton and production of naturally coloured thread became obsolete. Traditional motifs on textiles are no longer considered the property of a certain social class or age group. Wives of government officials are promoting the use of traditional textiles in the form of western garments, such as skirts, vests, blouses etc. This trend is also being followed by the general populace and whoever can afford to hire a tailor is doing so to stitch traditional ikat textiles into western clothes. Thus traditional textiles are now fashion goods and no longer confined to the black, white and brown colour palette, coming in array of colours. Handbags, wallets and other accessories are also being made from traditional textiles, and traditional textiles are also being used in interior decorations. These items are considered fashionable by civil servants and their families. There is also a booming tourist trade in the Kupang city of eastern Indonesia where international as well as domestic tourists want to get their hands on traditionally printed western goods.[25]
The use of traditional textiles for fashion is becoming a big business in eastern Indonesia, but these traditional textiles are losing their ethnic identity markers and are being used as an item of fashion.[26] Just like the Nike shoes that are a capitalist form of fashion for the modern consumer, the ikat textiles of Eastern Indonesia’s Ngada area, which use to be a form of static anti-fashion, are becoming a part of fashion as they are being incorporated into forms of highly valued western goods.
Intellectual property[edit]



Student modeling at the "Fashion marketing" event at the Monterrey Institute of Technology and Higher Education, Mexico City.
Within the fashion industry, intellectual property is not enforced as it is within the film industry and music industry. Robert Glariston, intellectual property expert at Creative Business House ( organization specializing in fashion and trademarking), mentions in a fashion seminar held in LA that "Copyright law regarding clothing is a current hot-button issue in the industry. We often have to draw the line between designers being inspired by a design and those outright stealing it in different places." To "take inspiration" from others' designs contributes to the fashion industry's ability to establish clothing trends. For the past few years, WGSN has been a dominant source of fashion news and forecasts in steering fashion brands worldwide to be "inspired" by one another. Enticing consumers to buy clothing by establishing new trends is, some have argued, a key component of the industry's success. Intellectual property rules that interfere with the process of trend-making would, in this view, be counter-productive. On the other hand, it is often argued that the blatant theft of new ideas, unique designs, and design details by larger companies is what often contributes to the failure of many smaller or independent design companies.
Since fakes are distinguishable by their inherent poorer quality, there is still a demand for luxury goods. And as only a trademark or logo can be copyrighted for clothing and accessories, many fashion brands make this one of the most visible aspects of the garment or accessory. In handbags, especially, the designer's brand may be woven into the fabric (or the lining fabric) from which the bag is made — this makes the brand an intrinsic element of the bag.
In 2005, the World Intellectual Property Organization (WIPO) held a conference calling for stricter intellectual property enforcement within the fashion industry to better protect small and medium businesses and promote competitiveness within the textile and clothing industries.[27][28]
Fashion for a cause[edit]

Fashion may be used to promote a cause, for example, to promote healthy behavior,[29] to raise money for a cancer cure,[30] to raise money for local charities,[31] for example the Juvenile Protective Association,[32] or to raise donations for a children's hospice.[33]
One up and coming fashion cause is trashion which is using trash to make clothes, jewelery, and other fashion items in order to promote awareness of pollution. There are any number of modern trashion artists such as Marina DeBris, Ann Wizer,[34] and Nancy Judd.[


Fashion And You Image Photo Pictures 2013    
Fashion And You Image Photo Pictures 2013      
Fashion And You Image Photo Pictures 2013      
Fashion And You Image Photo Pictures 2013      
Fashion And You Image Photo Pictures 2013      
Fashion And You Image Photo Pictures 2013      
Fashion And You Image Photo Pictures 2013      
Fashion And You Image Photo Pictures 2013      
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