Find on this page all the informations about Clothing Fashion.

Shop fashion clothes at MySimplyShop and get the latest womens clothing, fashion trends & accessories on our website. Clothing or clothes is a collective term for garments, items worn on the body. The amount and type of clothing worn depend on body type, social, and geographic considerations. Some clothing can be gender-specific if we take in consideration dresses for women, ties for men etc. Today we can find cheap clothes on many sites like

Many categories of clothes exist ! We have found on a site a long list but you have to know that this is not an exhaustive list. Have a look on this short list:

Original and complete list can be viewed on this website

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Clothing styles are as varied as there are people and purposes !

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I encourage you to read this story on the original website. For that, you can follow the link at the end and download the pdf of « A little story from Jackie Goode « .
The stories begin with a single auto-ethnographic account which traces the dening inuences on one womans relationship with clothes, fashion, style and ageing from her grandmothers time to her own later life, examining via key events the part clothes played in the constitution of identity through the lifecourse. In later life, naturally occurring conversations with her female peers revealed a shared sense of a growing loss of the aesthetic, cultural and material pleasure and stimulation which had been afforded by an engagement with clothes during their earlier lives. In order to investigate this more formally, their fashion narrativeswere collected via videoed in-depth interviews, the thematic analysis of which then formed the basis of a documentary lm.
Following the single account presented here, the article goes on to draw on data from the lm to examine womens personal relationships to clothes in older age and to explore the problem Shilling identies: how to carry on looking like me.We might extend the question further to incorporate fully embodied notions of identity: not only how to carry on looking like but also feeling like and being me. In place of representativeness and generalisability, narratives offer a springboard for discussion, an opportunity for others to identify similarities and differences in their own lives, experiences and relationships to clothes and ageing.

Take a girl like you.

It is the late 1920’s.
A little girl is growing up in a village, in a two-up, two-down’ in the middle of a row of terraced houses down the road from a farm. Every year she goes to the party held for local children by the village teacher the unmarried daughter of the local land-owning family who lives in the Big Housefurther down the street.
For some reason, the girls eldest brother is the frequent object of their fathers ill-temper. One day, when he is 14, he discovers what he thinks is the explanation he is not his fathers son and was born illegitimately. He runs away, broadcasting the news to the village at large as an act of revenge on his bogusfather. He doesnt anticipate the repercussions for his sister. The teacher tells her in front of the rest of the class that she will never amount to anything. She tells her that she will doubtless end up in the gutter, coming from stock like that. The little girl never attends the annual party again.
It is the late 1940’s
A young married woman dresses up her two daughters in white satin hand-smocked dresses of the kind worn by the little princessesElizabeth and Margaret and with her husband in tow, walks across the elds to the Big House in a nearby village and bangs on the door. She reminds the woman who opens it of a long-ago conversation. She holds out her hand to show her wedding ring. She presents her beautifully dressed daughters. She invites the woman to look at her now’.
It is the 1950’s
A little girl, whose big sisters have already started school, spends all her time in her fathers butchershop, observing the customers coming and going, listening to conversations about what they can give their husbands for tea, noticing how Mrs Sheehan, who always wears a head scarf tied bandanna style around her curlers, talks differently somehow to Mrs McMahon who never wears curlers out of doors and tells stories about her famous show-jumping son Paddy.
She is aware that her mother likes certain customers and doesnt like others. She knows that her mother likes nice things. She knows before having the words to articulate it or being able to explain why, that good’ clothes are important. She has seen photographs of her mother as a young woman looking rather stylish.
And she remembers being dressed up in the same satin smocked dresses that her mother made for her, just as she had done for her older sisters. She has also inherited from them the wool plaid kilt-skirt with straps that she starts school inShe is not sent to her local school but to a newly built school where the Head of Infants is the lady from the Big House. On Sundays, she wears a wool coat with a velvet collar, purchased from a childrens outtters. She likes the feel of the collar. She likes the feel of her mothers fur coat too, especially when she snuggles up against it on her mothers lapin the passenger seat of the car and falls asleep on the journeys home from family days out. Clothes are tactile. She has been spared the elocution lessons her older sisters attended, but commits to memory one of the poems they recite at home: Im going to sweep the dirt away Whoosh! Whoosh! Whoosh! She doesnt yet recognise this as the leitmotif of her mothers life. A few years later, like her older sisters before her, she accompanies her mother into customers homes on the weekly delivery round, listening to the tenor of their stories of marriage and motherhood, miscarriages and illnesses, developing in the process a nely tuned ear and a nuanced understanding not only of  womens domestic lives but of the ways they present themselves to the world in private and in public.
It is the 1960’s
A pre-adolescent girl watches enviously as one sister listens to Frank Sinatra as she changes from her pencil skirtinto trews and a Sloppy Joeand as the other dons a full-skirted brocade dress for the evening, before heading off for the Locarno [ballroom] to dance the night away to Elvis or to haunt a local jazz club. She is growing up but her mother still chooses her clothes. She is happy with this because at the age of 12 she thinks she looks sophisti-
catedwith her hair up, wearing a costumeand little white gloves even while she is still happy to hold hands in public with her big sisterA few years later, school trips to France and Italy add to the acquisition of a sensibility which is a mixture of sophistication and cool’–Françoise Hardy; Jean-Paul Belmondo; Vespas; her own purchase, from a shop near the Trevi Fountain, of the soft leather ballet pumps that all the Italian girls seem to be wearing. In a while, she is no longer trying on her sisters’ clothes when they are out. She is listening to the Beatles and wearing a Patti Boyd Dollyrocker’ dress. She reaches the last two years of school and is into Op Art. Now that a new rule allows her and her friends to abandon uniform and wear their own clothes for school, the dress-making skills that her mother has passed on to her come into their own. She makes the miniversion of a Mary Quant A-linedress in ne black wool with a white collar on its scoop neck. Her father says of the mini, Thats not a skirt, its a pelmet!’ She wears it, with opaque white lace tights and black tap-style shoes with aoppy silk bow tied across the front instead of a button strap, to one of the rare parties her mother allows her to go to. Now friends come round occasionally to listen to records and, on one occasion, to exchange clothes. She swaps a home-made button-through silk shift-dress with pin-tucks down the front that she wears with white daisy earrings, for her best friends navy and white sprigged cotton granny printsmock dress with a white lace Peter Pan collar. Her mother is incandescent her friend has apparently exploited’ her in some way she doesnt understand.
In London, the sixties are swinging. But in provincial Derby, her life remains heavily circumscribed by her mothers fears of being contaminated afresh by moral turpitude. She is studying Alevel Art and attends the local art college once a week to do life drawing. (Her mother says Is that really necessary?) In contradiction of her mothers earlier aspirations, this youngest daughters thoughts of going to university represent a step too far. It is high time she earns a living and tips her board’ over.
It is the late 1960’s
A young woman attends two interviews to study Sociology at the University of Durham. Her father has fought her corner and won. At the departmental interview, the male interviewer tests her knowledge of social class. What are some of its indicators? She talks about appearance the way people present themselves in dress and speech. These are the wrong answers. She is nally prompted, with ill-concealed disdain, to consider occupation. She doesnt know that growing up in a shop and going out on the rounds’ has taught her to readclass and gender even if she hasnt acquired the sociological tools to put them into a wider structural context. In any case, contemporary sociological analyses of class count women out women are still hidden inside householdswhose heads they are not. Feminism hasnreached her or the sociology departments of the North-East yet, and neither has Bourdieu. The establishment of Cultural Studies at the University of Birmingham is still in its infancy, and she comes away understanding that her focus on how people look and how they talk is shallow and supercial. Later, her experience in this interview will be brought to mind by reading Hanleyaccount of ying solo in blissful ignoranceat her interview at Christs College, Cambridge. It is the end of the 1960’s At Newcastle University, a young sociology undergraduate is beginning to acquire the language of class that provides a key to understanding family, schooling and work although it doesnt really accommodate her own experience of gender. She spends a disproportionate amount of her time browsing in Fenwicks departmentstore and a disproportionate amount of her grant on dress fabric. She returns home at the end of the rst term and meets up with her old classmates at a Christmas party. She is wearing: a red suede coat and a oppy brimmed hat over a home-made mini-dress and knee length red leather boots. Her ex-classmates say Wow! Back in Newcastle, she moves in with a bunch of Fine Art students. She stays on to do a post-graduate qualication in social work. She extends the reading list and discovers Erik Fromm, Martin Buber, Paul Tillich, Carl Rogers and Ruth Etchells, from down theroad at Durham. She is excited who wouldntbewhen still strenuously trying to become a person in ones own right, by such titles as The Fear of Freedom,IandThou,The Courage to Be,On Becoming a Person’, Unafraid to Be? They provide a second key to making sense of the world.
Alongside a largely unrequited love affair with one of the artists, who introduces her to Kurt Schwitters, Wittgenstein, Rilke and Erik Satie, and tells her to wear something nicewhen he takes her one night to the opera, she continues her love affair with art. Somewhere along the way, she acquires a postcard of a Hockney painting depicting the fashion designer Ossie Clark and textile designer Celia Birtwell. She is vaguely aware of links between the worlds of art and fashion. She leaves university with the knowledge that, for her, clothes play a central role in the fashioning of the self and that the work they do is a mixture of the performance of class, gender, creativity and self-expression.
It is the mid 1970’s
A young woman gets married. She makes a white cotton dress with embroidered owers. She updates the ve-point haircut she had in the 1960′s, as
modelled by Grace Coddington, with a Purdy-style ‘bob.
It is the beginning of the 1980’s
A woman somewhat belatedly becomes a mother. Somewhat belatedly, and perhaps not coincidentally, she also catches up with feminism. It provides a third key to understanding her experiences of gender and identity politics. She reads Carolyn SteedmansLandscape for a Good Woman. She understands that Steedmans mothers desire for the New Look’–what that style signalled, what it bestowed, what hidden injuries’ it might heal comes into all three of the black boxes whose keys she has tentatively held boxes containing the classed self, the authentic self, the gendered self. She is still making her own clothes: culottes and a jacket made from beautiful quality deep-black linen bought in Siena; a wide shirt with epaulettes from a Wendy Dagworthy pattern; a trousers, tunic and jacket ensemble from an Issey Miyake pattern.
Fashion is less a way of signalling the middle-class status going to university has conferred on her (although it inevitably does that) but of seeking to express a degree of individualism, even if she is unavoidably reading and making reference to othersideas and designs.
It is 2016
The auto-ethnographic account above which traces one womans relationship to clothes and fashion through the inheritance bequeathed to her by her female family members (maternal grandmother, mother, sisters) also highlights the prisms class, gender and now age through which other working-class girls have made sense of their lived experience (Hanley; Skeggs; Steedman). And if there is always an element of ambivalence in these stories of social mobility, then it is one that is mirrored among my contemporariespersonal relationships to clothes in older age and to the fashioning of the self’–although not necessarily along the lines hither-to documented in academic papers. For a feminist who has always inclined towards the political economy end of the spectrum, an interest in clothes – and my own clothes still feels slightly supercial, despite the fact that there is now a well-established academic literature on the body and its modications (Featherstone, Hepworth and Turner; Howson and Inglis; Scott and Morgan; Williams and Bendelow).
Justications are still evident, however. While Steedmans account of her mothers life is used unapologetically to justify the politics of envyin relation to thingslike clothes, novelist Linda Grant, daughter of immigrants who sometimes arrive in a new country with only the clothes on their back, isdeant.
She writes:
I consider it absolutely normal to care deeply about what we wear, and detest the puritan moralists who affect to despise fashion and those who love it. Who shrilly proclaim that only vain foolish Barbie dolls, their brains addled by consumerism, would wear anything but sensible clothes made to last. As if appearances dont matter when, most of the time, they are all we have to go on. Or sometimes, all that is left in the ruins of a life. (Grant)
Follow this story at:
(PDF) Fashioning the sixties: fashion narratives of older women. Available from: [accessed Jul 13 2018].