The European idea of fashion as a personal statement rather than a cultural expression begins in the 16th century: ten portraits of German or Italian gentlemen may show ten entirely different hats. But the local culture still set the bounds, as Albrecht Dürer recorded in his actual or composite contrast of Nuremberg and Venetian fashions at the close of the 15th century (illustration, right).

　　歐洲時(shí)尚理念作為一個(gè)個(gè)人陳述，而不是一種文化表達(dá)開始于16世紀(jì):十幅德國或者意大利紳士的肖像圖，可能會展示了十頂完全不同的帽子。但是當(dāng)?shù)匚幕匀皇侵饕膬?nèi)容，就像阿爾布雷希特·丟勒在15世紀(jì)末時(shí)，記錄他真實(shí)的和綜合的對紐倫堡和威尼斯時(shí)尚的比較。

　　Fashions among upper-class Europeans began to move in synchronicity in the 18th century; though colors and patterns of textiles changed from year to year, (Thornton), 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 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 (a necktie) (see Cravat). The pace of change picked up in the 1780s with the publication of French engravings that showed the latest Paris styles. By 1800, all Western Europeans were dressing alike: local variation became first a sign of provincial culture, and then a badge of the conservative peasant (James Laver; Fernand Braudel). Fashion in clothes has allowed wearers to express emotion or solidarity with other people for millennia.

　　在18世紀(jì)時(shí)尚在歐洲上流社會開始朝前同步;雖然紡織品的顏色和圖案每年都在改變，(桑頓),裁切師切一個(gè)紳士的外衣和背心的長度,一個(gè)女子服裝的樣式的裁剪、變更得更慢了。男人時(shí)尚來源于軍事模型、變化于劇院里刺激的歐洲男性輪廓，在那里軍官先生有機(jī)會去做筆記記錄外國風(fēng)格:例如，“司坦克圍巾”領(lǐng)帶(領(lǐng)帶)(領(lǐng)帶)。變化的步伐發(fā)生在1780年代最新的巴黎風(fēng)格的法國雕刻的出版。到1800年,所有西方歐洲人穿衣都相似:當(dāng)?shù)刈兓蔀榈谝粋€(gè)省級文化的標(biāo)志，然后就是保守農(nóng)民的一個(gè)徽章(James紫菜,布羅代爾)。時(shí)髦的衣著使穿著者表達(dá)情感或與他人團(tuán)結(jié)了幾千年。

　　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 fashion trend may start. People who like or respect them may start to wear clothes of a similar style. Fashions 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 fashion of young people, he or she may look ridiculous in the eyes of both young and older people. The term “fashion victim” refers to someone who slavishly follows the current fashions (implementations of fashion).

　　現(xiàn)代西方人對于衣服有著廣泛的選擇。一個(gè)人要穿什么才能反映他的性格和愛好呢?當(dāng)一些有著文化地位的人開始穿新的或不同的衣服時(shí)，可能就開始新的時(shí)尚了。人們可能喜歡或尊重一個(gè)人可能是從他們相似的穿衣風(fēng)格開始的。時(shí)尚可以隨著時(shí)間的推移根據(jù)社會中年齡、社會階層、輩分、職業(yè)和地理發(fā)生明顯的變化。例如,如果一個(gè)老年人根據(jù)年輕人的時(shí)尚來穿衣，不過是在老年人還是年輕人的眼里他或她都是很滑稽的。術(shù)語“時(shí)尚受害者”指的是那些盲目遵循當(dāng)前時(shí)尚(實(shí)現(xiàn)流行)的人。

　　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.) Thornton, Peter. Baroque and Rococo Silks. This is an example list of some of the fads and trends of the 21st century: Capri pants, handbags, sport suits and sports jackets, ripped jeans, designer jeans, blazer jackets, and high-heeled shoes.

　　一個(gè)可以把各種體育時(shí)尚看作是一個(gè)合并各種時(shí)尚語句的時(shí)尚語言系統(tǒng)并使用時(shí)尚語法。(和羅蘭·巴而特的一些工作相比。)桑頓，彼得，巴洛克和洛可可絲綢。這些都是21世紀(jì)時(shí)尚和潮流的一些例子：緊身長褲、手袋、運(yùn)動(dòng)套裝、運(yùn)動(dòng)夾克,牛仔褲,破洞的牛仔褲,夾克外套以及高跟鞋。

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