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
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 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
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