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).　　歐洲時尚理念作為一個個人陳述，而不是一種文化表達開始于16世紀: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?shù)匚幕匀皇侵饕膬?nèi)容，就像阿爾布雷希特·丟勒在15世紀末時，記錄他真實的和綜合的對紐倫堡和威尼斯時尚的比較。　　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世紀時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),裁切師切一個紳士的外衣和背心的長度,一個女子服裝的樣式的裁剪、變更得更慢了。男人時尚來源于軍事模型、變化于劇院里刺激的歐洲男性輪廓，在那里軍官先生有機會去做筆記記錄外國風格:例如，“司坦克圍巾”領帶（領帶）（領帶）。變化的步伐發(fā)生在1780年代最新的巴黎風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?shù)刈兓蔀榈谝粋€省級文化的標志，然后就是保守農(nóng)民的一個徽章(James紫菜,布羅代爾)。時髦的衣著使穿著者表達情感或與他人團結(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。一個人要穿什么才能反映他的性格和愛好呢？當一些有著文化地位的人開始穿新的或不同的衣服時，可能就開始新的時尚了。人們可能喜歡或尊重一個人可能是從他們相似的穿衣風格開始的。時尚可以隨著時間的推移根據(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,如果一個老年人根據(jù)年輕人的時尚來穿衣，不過是在老年人還是年輕人的眼里他或她都是很滑稽的。術語“時尚受害者”指的是那些盲目遵循當前時尚(實現(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.　　一個可以把各種體育時尚看作是一個合并各種時尚語句的時尚語言系統(tǒng)并使用時尚語法。(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世紀時尚和潮流的一些例子：緊身長褲、手袋、運動套裝、運動夾克,牛仔褲,破洞的牛仔褲,夾克外套以及高跟鞋。