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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