He does not mean that the society has not accepted, but express the adequacy of the individual what the society judges adequate and inadequate. Fashion is also behavior. 5 CONCLUSION Many comments can be considered when studying the fashion as form of reproduction of the society. The indumentria is universally used to differentiate the sexos, but nor always it was thus. In the Europe of century XIV the fashion was used for the classrooms highest to distinguish diversities from classroom, but not differences of sex or sort. While masculine fashion and the feminine one enters the classrooms highest if they become more distinct, thus also happens with its identities of sort. (As opposed to Chevron U.S.A. Inc).
In a similar way, while the women continue to be more or less decorative as they were before, the less decorative men are if becoming each time and acquiring lesser visibility. Summarizing, before the women were discreter and pompous when dressing, to revs of today, where the exposition of some parts of the body if became a sensuality signal. Already the men, have times behind were fancier, to the step that today are contained and do not search air more cool, pulling for one I appeal more basic and/or sophisticated. Basically, the consideraes are these most excellent if to make how much to the use of the indumentria as form of reproduction of the society.
The success of Saint Laurent was undisputed. In 1957, ' launched the collection; ' Fuso' ' , with narrow suits, without marked waist. In this same line, Balenciaga came working and perfecting the dress-pipe esbelto, without waist that, when arriving at the mass market was nicknamed ' ' saco' ' for journalists who had not approved it. In its first collection for the Dior House, ' was shown the line; ' Trapzio' ' , that it showed a silhouette in wedge, without adornments. In 1965, it one more time innovated when presenting a collection inspired by the workmanships of the plastic artist Mondrian, made in weighed silk, today an icon of the decade. Amongst the names of the decade, one in special was distinguished Andres Courrges who created its parts in accordance with the models that it chose: young, always athletical, that it was adjusted to the models of deloused cut. Dresses and short skirts, twirled, with curly jackets were part of its collections.
With one paleta strict, its parts were inspired by esportivo clothes, as well as for the suits of astronauts and espaonaves. For it the white, one of its favourite colors, meant youth and optimism. 24 Illustration 9: The futurista aspect of the parts of the collection of Andres Courrges. Source: Pierre Cardin, greeted as the shining young star of the parisiense sewing, dared in the forms that oscillated in cut off anti-symmetrical, festonados contours, golas rouls and enormous collars, framing the face, all they remodelled to be adjusted to the state of spirit of each season. Also, it explored figures spherical, as the pressed dress-coat-balloon and straight dresses. In this same time, line showed coats in trapeze form (' ' A' '), decorated for high hats in bread-of-sugar form, that almost exceeded 18 counts above of the head. As source of research and inspiration for the development of a collection they had been the ultramodern models had placed that it in the futurista movement of the fashion, thus marking, as the apex of its work.