The presents of creative fashions styles within our civilizations' and times' clearly indicates a real central value of not only a sense of personal discovery - mixed - with actual visual creations, but a more nimble and gentler attitudes within ones own intellegence and psyche. For me its a real look into the sociocultural expectations of women who are the main object of the best of fashions designs and thus giving more real context, or a some what uninvited voyueristic probe into female socioenvironmental instincts and ego - centric self - reflected personas.
Absolutely fascinating, as not only the interplay of female ego centric persona expectations are played in virtual live near like stage performances in what she most desires to wear, but how she is able to likewise correctly judge for her self what can make her look good. This has brought me to the additional attentions of its International InterCultural Communications applications and as there are female - centric [ relative ids ] undergound means in which fashions are able to communicate both solidarities, and commonalites, especially in female common emergency issues [ such a trafficking in women, sexual assault, rape and death of children during human conflicts ] across borders, cultures, and societies. At the heart of this is the likewise expectations of social and cultural power, and thus at times central leaders have appeared within the truer history of women, and not the public relations dogma of the feminist movement.
It is here where Gabrielle Bonheur "Coco" Chanel comes into full view, as well as her personal attraction to power, especially powerful men, which during WWII cause her a lot of trouble. None the less, what she was able to do, and not with standing contemporary feminist of her time and era, was to give women a fashions sense of their own sociocultural rights to self-determination. What the feminist historians all have missed is what were the women who were demonstrating after 1910 wore - " Little Black Dresses" , and more female oriented dress fashions as well designed by and for women.
Did this give an ego boost?
Certainly it did. And it is here where the perception is open and one is able to look more deeply into each female persona as one comes in contact with women the world over. It is how the choice in what one wants to wear, and ethnocentricity what one has to wear on traditional occassions, and their expectations which gives more vivid testiments of their own realization and control of personal values - even strangely in Islamic states. Just as much as there are endless shades of creative fashions designs, their existance, and their later sales successes have fully indicated that the designers have likewise discovered years before I did, what is exactly involved in females rights to choice and the most powerful self-advocacy contained within their future expectations of themselves; and all relevant fantasies themselves- which includes as power sociocultural image fantasy respectfully to their sexual fantasies as well. Men who appreciate these choice values in which women have in fashions, the more central his, or err ours full commitments to being men are manisfested.
One of the immediate impact is that we, as men become more gentle in our personal issues with those who we are enjoined, as well as those women in which we woo. A kiss of her hand, how light fabirc gently helps to shape her lovely and at times seductive forms propells us to listen more careful, and learn not to rush, especially her. See my fashions related sites to explore.
One last note:
I did not come up with the term H - E - T - E - R - O - P - H - O - B - I - C until I took the entired required core of study of the Women's Studies, Buffalo State College. The term was applied to those males who were unable to communicate with women, but only were able to push an agenda contrary to both his and her own interests - that which exist beyond sex itself. So becoming a man has a different conotation.
