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
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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 

the sloppiness, have been able to prevail so soon due to a

that any fashion can be considered as a 
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system of signs-values capable of being used and interpreted by people, makes the phenomenon somewhat less inconsequential than it may seem at first sight ”(Rivière, 1977: 105). Obviously, this process of managing one's identity can involve a self-conscious and even frivolous creation: 
“Now, each one can choose an identity, change face or body to finally have what they deserve. Fashion responds to this serious concern in a pleasant way: it satisfies the playful child in us. For the first time, frivolity intervenes in the identity construction process ”(Erner, 2005: 200). 
This versatility, according to Squicciarino, can become something negative for the individual, who, in a way, is subdued by his own character:

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"Modern man [...] looks for image care in an aesthetically pleasing disguise to be able to create and represent the character he has" chosen ", in an attempt to hide with art all the psychic dissonances that could interfere with his fiction . Motivated by the need for social acceptance and by an increase in self-awareness as an actor, he submits himself to an oppressive and rigorous control of aesthetic and behavioral conformity in relation to the “victor” models ”(1990: 188) .
In any case, it seems clear that any person, to a greater or lesser extent, manages both the impressions he makes and the impressions he makes on others. As already indicated, there is, in general terms, a psychological need for differentiation that is reflected in multiple aspects. This is, for example, the aforementioned case of urban tribes to which young people tend to associate to different degrees. The phenomenon is explained as follows by Costa, Pérez Tornero and Tropea:
“It seems clear that adolescents and young people are especially sensitive to their situation in the world. That is why they depend closely - although sometimes it does not seem so - on the consideration of others and seek, by infinity of means, to build their own relational status. Hence her tireless work on appearance, clothing, fashion, and fashions, and her habitual tendency to signify herself. In this context, the tribes often provide them with keys, accessible methods, and a kind of unwritten manuals to determine their own expressiveness ”(1996: 13).
Therefore, individual differentiation implies, at the same time, an identification with the group. This process is framed in a social change, according to which “an insatiable search for meaning and identity is taking place that defines us or at least that, when grouped together, assigns us new forms of identification and difference” (Del Pino Merino, 1990 : twenty-one). In other words, in order to be different from society, individuals become more similar to their group of belonging: 
The mere will to distinguish is not enough to create fashions. To exist, trends need mimetic processes through which polarizations are created. A phenomenon that 
 Youth: Media idols and new values 177
conjugate imitation and distinction necessarily ends in a paradox. Indeed, while the realization of oneself is one of the ideals of the time, the western masses offer a homogeneous spectacle (Erner, 2005: 187).

culture in which irony prevails, the game, emotion and freedom of behavior.

Mártil, 2009).
Naomi Klein explains that when advertisers realized the importance of youth in the sense outlined above and the need to tune their brands to the latest trends, there was a boom in research for the teen and twentysomethings consumer (2001: 98-99). This is highly relevant for fashionable youth consumption, but, in addition, as youth constitutes a 
 Youth: Media idols and new values 175
advance in terms of trends, investigating it means going one step ahead. Thus, urban tribes are constantly investigated, in a process that turns minority or subcultural trends into massive and commercial ones. Top models play a fundamental role in this dissemination process, insofar as they present new proposals in a rapid and massive way. Thus, Marshall points out that,
As top fashion designers understand and complicitly develop the overall entertainment industry, celebrity clothing choices also allow for wider general adoption. It's not that these styles necessarily start with the celebrity; rather, it is their appropriation that makes them migrate from the subcultural or perhaps haute couture sphere to a broader consumer and to popular culture (2006: 12 / TP). 
The top models become, therefore, a fundamental vehicle in the diffusion of new trends that, far from having been proposed by them, are only their propagators, giving rise to a process by which the minority becomes massive. 
3. Fashion as a code

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Fashion constitutes a key factor for the definition of the subject, that is, for the configuration of one's identity, an aspect that, as Erner points out, is essential for the contemporary individual: “Because of his appearance, an individual is situated so much with respect to the others as himself. Under these conditions, fashion is one of the means he uses to become himself ”(2005: 182). This would respond, according to Squicciarino, to a need for self-esteem and emotional gratification for the alienated man of our society:
“The fashion phenomenon is increasingly reaffirmed as a need for mass. The invigorating effect exerted on self-esteem by the fact that others express the acceptance and admiration of our own image, the positive action of stimulation that competitiveness in the care of one's own appearance and in the affirmation of one's individuality develops on the fantasy and intuition, emotional gratification and magical value associated with the constant acquisition of new clothing, as well as the transitory cancellation of the "ordinary" world and the playful nature that accompany the staging itself, can make the times of an important cathartic function for the alienated man of our society ”(1990: 187).
The individual, by dressing in one way or another, transmits a certain image and disseminates, through non-verbal communication, who he is. When a boy dresses in modern clothes in such a way that he is perceived by others as a pope, he is saying things about himself. That is, he is using a pre-established code, a series of signs that he is able to articulate and, at the same time, the people around him are able to decode. It is, therefore, a system of codes that serve to catalog people. Far from being a frivolous and banal manifestation, this fashion function endows it with a great sociological interest, since “the fact 

Fashion has acquired a youthful connotation, it must express an

Returning to the case of urban tribes, he and the young woman who belongs to a tribe never stop following a norm. It is limited to supporting another, different from that accepted by the majority of society. Thus, the “need for autonomy” raised by the psychologist Henry Murray will be covered, according to which the individual manifests the “need to resist influences or constraints, to challenge authority and to seek freedom, to fight for their independence ”(In Dubois and Rovira, 1998: 23). In relation to the psychology of the human being, fashion moves, therefore, between the need for autonomy and independence, on the one hand, and the need to relate to others, on the other, which allows the subject to simultaneously differentiate himself - from the others– and identify –with others– (Erner, 2005: 193).
This trend towards standardizing identification is observable in young people and, above all, in adolescents. Adolescence constitutes a period of search for identity. The way to identify yourself is to carry the group's flag and make it visible. However, to find their own identity, the adolescent needs to differentiate himself from other groups. Logically, to the same extent that the young man needs to find her identity, she also seeks to make it visible. It should not surprise, therefore, the attractiveness that fashion exerts on him, insofar as it allows him to identify with his group and differentiate himself from others. Thus, there is a need for personal expression, for which fashion –as garments are, from a marketing perspective,

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The really important thing about the shirts is not the squares,

“ but the flannel that gives heat, as well as the leggings are essential under jeans that have been torn after years of continued use. Long pants, long-sleeved shirts underneath short-sleeved shirts, wool hats, gloves, or boots are used in Seattle (as in so many northern cities) for something as simple as protecting yourself from the cold. When the Washington state capital began to shine with its own light on the music map, it wasn't just the record scavengers who would bait on the invention; the fashion world began to sell the 'grunge image' [...]: all the material described above to fight against inclement weather appeared in luxurious reports by specialized magazines; models with forced mohines of rebellion? They posed for reputed photographers while wearing carefully torn jeans with silver scissors [...]. The best came when those pants, king size jerseys and printed cotton T-shirts appeared in the stores with prices not of laughter, but of crying for the astronomical ”(Colubi, 1997: 239-240).
As can be seen, grunge fashion works differently from punk fashion. In the grunge case, it is the followers who attribute social meaning to the clothing of popular characters such as Eddie Vedder or Kurt Cobain, leaders of Pearl Jam and Nirvana respectively. From this moment, the jump to massive commercial exploitation is a logical consequence, in the context of the consumer society.
 Young people: media idols and new values 173
(2) Currently, goods and services are not only used to cover primary needs. Brands like Nike or MTV have overwhelmed the concept of a trademark and have built a complex symbolic universe around them.
Putting on a wool hat, the followers of these musical groups express their sympathy towards a certain idea of life. It is, therefore, a symbolic consumption phenomenon, similar to that which occurs with certain trademarks (2).
All this is framed in the need for differentiation that human beings and, especially, young people have, a need for which fashion constitutes, as indicated, an important support. According to Erner, not in vain, the current importance of fashion "testifies to the general will to stand out, escaping conformity and homogeneity" (2005: 183). Thus, one passes from the singular to the plural. And next to the slim model, without excessive curves and even bony (Kate Moss), more fleshy and even voluptuous (Laetitia Casta) coexist. This is not limited to a physical issue, but permeates the lifestyles and values that each model or each brand carries. The lifestyle of top models has to do with their own personality and the details of their lives, although, as Dyer points out, sometimes there is a conflict between what is “shown” and what “happens” in their lives (2006: 154). That is, between his image and his identity.

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