Likewise, this apparent paradox between differentiation and standardization is observed in top models and fashion brands.

apparently contradictory sion, is a means that stands in the way of direct communication. It gets in the way of what is by definition immediate. Traditional media study makes a basic distinction between direct communication and mediated or indirect communication. The first takes place face to face, that is, with the physical presence - in the same spatio-temporal context - of the sender and the receiver, and, consequently, without intermediaries; on the other hand, the second occurs remotely and, therefore, to be able to take place it must use the mediation of any type of technical object. John B. Thompson then introduces, together with face-to-face interaction and mediated interaction (of which he gives the post or telephone as an example), another that he calls “quasi-mediated interaction”, that it corresponds more or less with the communication carried out through the mass media: unidirectional rather than dialogic; for an indefinite set of potential recipients rather than for particular recipients1. Regarding this tripartite division, clothing is undoubtedly situated in the face-to-face communication field, since it performs a communicative function only within a common space-time context, or only insofar as it is physically seen by the recipient. At the same time, clothing cannot be reduced, in relation to bodily communication, to the function of a simple “material substrate of symbolic forms” 2, such as the aria that conducts sound waves and thus makes oral communication possible. Every form of communication, Thompson rightly stresses, needs a material substrate to take place. This also applies to body communication, whether or not through clothing, which uses light waves as a support for visible messages. Clothing is, therefore, an authentic means of communication that behaves enriching and not only transmitting communication.

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Just take a look at the graphic advertisements of fashion brands to

The fashion creator as communication creator Paolo Volonté *
Received: March 17, 2009 - Accepted: June 2, 2009 When the figure of the fashion designer is understood only through the category of creativity, a fundamental dimension is lost, because we are not used to thinking about the act of creation as in a moment of a broader process of communication. So when it comes to communication, creation seems like an intruder and the fashion designer seems out of place. Even in the many informative descriptions of how the fashion system works, a precise distinction is often found between creation and production, on the one hand, and communication on the other; It seems to be understood, therefore, that creating and communicating are two different activities: the one who creates does not communicate and the one who communicates does not believe. What, then, does the fashion creator have to do with the question of the relationship between communication and cultural production? In this article I try to explain why the fashion creator is a producer of culture not as a creative, as is commonly believed, but precisely as a communicator. Key words: Fashion designer, Creation, Communication, Clothing. When the figure of the fashion designer is understood only through the category of the creativity, it loses a fundamental dimension, because we usually don't think about the act of the creation as a moment of a wider process of communication. For that reason, when we talk about communication, creation looks like an intruder, and the fashion designer seems to be out of place.
* Paolo Volonté is Associate Professor of Sociology of Cultural and Communication Processes at the https://failfake.com/en/women-printing-sweatshirts/1153-elmo-women-s-sweatshirt.html

In principle, different trends are detected that coexist over time with unequal strength. However, within them, there are numerous aspects that are repeated in a standardized way.

I. Communication through dressing Dressing is communicating. This statement, which is taken for granted and considered obvious in many respects, is frequently ignored when looking at fashion phenomena, either from the consumption side (for example, the choice of clothing by young people) , already on the production side (for example, the structure of the textile industry in a certain country). Instead, clothing is treated as if it were just one thing, a neutral and indifferent object in the interaction between social actors: an industrial or artisan product, and not a true means of communication as such. This is due, among other reasons, to the fact that, when the term “communication” is mentioned, two particular phenomena usually come to mind quickly: on the one hand, language, speech, dialogue, language; and, on the other, the media, television, SMS and e-mail. One thinks immediately of that elaborate form of communication that is verbal, linguistic communication, full of symbols and grammatical rules, without taking into account that there is a much more elementary and fundamental form of communication in human life than non-verbal communication. , a communication that is not “added” to words and discourses, as it is sometimes said, but precedes them, and of which words and discourses are only a fairly advanced evolution. Precisely because of that elemental character, bodily communication has not been abandoned by humans, who have sometimes tried to take advantage of its potentialities to better govern their interactions and their daily life: dressing the body, adding visual adornments or materials capable of reducing or multiplying his communicative powers. Considered from this perspective, clothing and fashion are among the most important communication instruments available to us. In truth, the dress constitutes a means of communication in a very particular sense, at least because, to use an express

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verify the existence of certain uniform patterns between related brands.

Currently, fashion is a highly complex social phenomenon, especially in its relationship with youth, which has become the reference group. Today fashion does not suppose a vertical relationship in the traditional way, that is, a process of imitation of a canon created and disseminated by the upper echelons of the social hierarchy, but is structured as a horizontal relationship in which, in the case of Young men and women play a dual role. On the one hand, they follow the trends spread by their idols. And on the other, they are trend-setters who then spread their models in a sort of circular process in which they are themselves generators, broadcasters and consumers. However, this group is not monolithic but diversifies into a multitude of trends: urban tribes, each of which looks for its identity in fashion. Fashion thus fulfills a symbolic function insofar as it serves as a tool for identification and simultaneously differentiation. Fashion has been transformed into a system of signs that helps the individual to configure her own identity (in front of others) and make it visible (to others). However, as the individual, to differentiate herself, is integrated into a group, homogenization arises. And this is the great paradox of fashion, which oscillates between individual autonomy and group membership, between differentiation and standardization. Fashion has been transformed into a system of signs that serves the individual to configure their own identity (in front of others) and make it visible (to others). However, as the individual, to differentiate herself, is integrated into a group, homogenization arises. And this is the great paradox of fashion, which oscillates between individual autonomy and group membership, between differentiation and standardization. Fashion has been transformed into a system of signs that serves the individual to configure their own identity (in front of others) and make it visible (to others). However, as the individual, to differentiate herself, is integrated into a group, homogenization arises. And this is the great paradox of fashion, which oscillates between individual autonomy and group membership, between differentiation and standardization.

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In this context of standardization, it is interesting to stop at microcelebrities,

which are taking on special relevance in the field of fashion. The term was coined by Therese Senft (2008) to describe a new phenomenon that was emerging on the Net. They were people who, developing and sharing their own content from their blog and social networks, were achieving remarkable visibility and influence in the digital space. These people, converted into opinion leaders, generally specialized in specific topics, also developed communication initiatives typical of public relations and branding and, in short, managed their identity as a personal brand to achieve objectives of notoriety, visibility and authority in the Network. The audience is understood,
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An excellent example of microcelebrity is the case of Cory Kennedy, a young American who rose to fame at the age of sixteen thanks to his presence on social networks. After the publication of some photos at a concert and, later, at parties in which he photographed himself with celebrities, Kennedy spaces on social networks increased their volume of visits in a notable way. Over time, his popularity grew so much that he began to receive the attention of the mass media, especially specialized fashion publications. Thanks to all this, he has achieved a career as a model, without his parents knowing anything about it, beyond the fact that his daughter published content on the Internet. Microcelebrities like this may have to be understood in the context of narcissism, who uses fashion as a costume in search of popularity. This is how Squicciarino explains it:
"The care of one's own external appearance through the different elements of clothing, especially in today's culture, strongly conditioned by the image and characterized by a more widespread narcissism, clearly runs the risk of becoming exclusively a care of the 'façade' itself satisfying in itself. In this way, concern for the external aspect would assume the role of disguise, which hides the narcissistic loneliness of those who compete on the plane of comparison and appearance, once they have been defeated on the plane of encounter and communication, and, anguished, he continues to obsessively ask the mirror: "mirror, magic mirror, which is the most beautiful in the kingdom?" (1990: 145-147).
From this point of view, fashion would be at the service of the self-centered need of the individual himself, who seeks to place himself, like the models he admires, in the public eye.
4. Conclusions

Likewise, the fashion universe is marked by the generic youthful style:

emancipated lifestyle, free of obligations and easy on the official canons ”(Lipovetsky, 1993: 134-135).
Faced with the corset of correction, the fashion world prioritizes transgression, and this is something that manifests itself in many different ways. Many brands use, for example, photographs so provocative that, in some cases, they are close to light pornography. The emphasis on full lips close to the kiss, the proximity between bodies, the allusion to the imminence of the sexual act or the insinuation of paraphilic relationships that, on so many occasions, are appreciated in the advertising of certain brands, all this is not something accidental . This provocation has to do with a commercial imperative, both because of the need to attract attention and connect with an audience close to youth culture, whether biologically young or not. But it is also due, as Erner emphasizes, to the link between fashion and the artistic impulse of photographers who,
This tendency to provoke is also observed in the references that the models themselves suppose. The paradigmatic case is that of Kate Moss. The British model has been the subject of numerous covers for her scandals: addictions, problematic personal relationships ... However, despite the loss of some contracts, the model remains one of the main top models. It could be argued, simplistically, that its success is such that it is not undermined by its own scandals. But you could also think that perhaps her excesses could have helped her build a very notorious public image. While it is true that you have exceeded certain limits, which has caused you certain problems, it is not
174 JOURNAL OF YOUTH STUDIES ≥ March 12 | # 96
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“The aggressiveness of the forms, the collages and juxtapositions of style,

It is less true that brands are aware that the personality, lifestyle and, in general, the image of the models is something very relevant. Kenny Hill, Account Director for the J. Walter Thompson agency, explains, in relation to a campaign for Rimmel, that “Kate Moss is the ultimate London girl: cool, experimental and daring and a little chameleon [...], what that fits perfectly with Rimmel's experimental and funny face ”(quoted in Lim, 2005: 85 / TP).
In this context of diversification, trends are a key factor in the fashion world. To the extent that there is no single canon, as Lipovetsky affirms, "one imitates whoever one wants, as one wants" (1993: 161). For this author, the fashion public is increasingly autonomous and free: “The« street »has emancipated itself from the fascination exerted by the fashion leaders, and it no longer assimilates the novelties but at its own pace,« at his whim »” (1993: 158). This does not imply the death of trends, but only their diversification and unpredictability. In other words, there are more and more trends coexisting with time and they are becoming more mysterious and more difficult to forecast or manage. According to Erner, if once fashion brands could manage "what should be dressed", today "they are at the mercy of fashion, As much as they invest in advertising and appeal to the great tradition of luxury, they have to deal with the most changing part of our society: trends ”(2005: 18-19). For this author, current fashion is arbitrary, trends are unpredictable, success and failure are an enigma, and fashion has ended up configuring itself as a phenomenon in which everything is possible (2005: 83-106).
From this perspective, young people are again of vital importance, as they are the most important creators of the trends that will be followed later by the entire society: 
“Almost all trends in mass consumption have their origin in this market. of teenagers. As fashion is a kind of "social contagion", as it has been called, it is in young people that it takes on a role of nature. The trends or whims of fashion that later spread to the adult market have their beginning here ”(Del Pino Merino, 1990: 112).

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Young people therefore constitute one of the most innovative and, at the same time, most transgressive sectors of society. They are its main engine of change. And the capacity they show to generate new trends will be used for commercial purposes, thus becoming the main suppliers of news in the consumer society (Rom and Sabaté, 2006: 152). In this context, cool hunters or trend hunters appear, people in charge of the search for new fashions, consumption habits ... Their work involves taking a further step in market research, since they must be completely immersed in the universe of young people (Gil