Fashion is an important feature in the French economic and cultural landscape. In order to truly understand its significance, we first need to understand the true nature of fashion products. To me, the fashion product has four characteristics : it has an aesthetic and artistic dimension. It is often associated with a designer and brand; it gives rise to short cycles and fast renewal; and it is situated a current trend and sometimes can define the trends of the future.
These different aspects relate to Charles Baudelaire’s comments on modernity, which he sees as “fleeting , transitory .incidental, half of the art, whose other half is eternal and unchangeable”. Fashion is a part of modernity that bring together both designer creativity and consumer aspirations. For each one of us, fashion is in the “here and now ”, while also bearing the traditions of our past and defining our future.
Fashion is an integral part of our economy and society. The core activity of fashion is choosing how we dress and adorn ourselves.wearing objects that reflect the identity we wish to project and the moods that flow through as. Fashion always oscillates personal expression and a collective, group trend.
In this way, the fashion economy in its strictest sense relates to the economic sectors or our personal environments: the activities of the creation, production and distribution of clothing. Fashion accessories(shoes, leather goods, etc.), perfumes and cosmetics. These activities as a whole account for 1.7% of France”GDP, 2.7% if we include employment, particularity service related, and its knock-o effects, while represents 1 million jobs in total. Amazingly, this is more than the automobile and aeronautical industries combined.
But all major French brands – in the same way as the young labels – are creativity-driven rather than consumer-drive. This does not mean that they misunderstand their consumers and their clients, but rather than they ensure their designers have the freedom to express their artistic talent. This approach retains a sense of community with the French tradition, which has its origins in humanism and the Baroque, where the work of art takes precedence over its direct usefulness. Brand develop their imagination, deploy creative vigor, and transmit an emotion that will resonate with consumers to stand the test of time.
This focus on creativity and international development explains the economic weight of French brands, who alone achieve worldwide annual sales of 45 billion euros. This figure rises to 67 billion if we include brands belonging to French groups.
The creativity and success of French designers and brands is inseparable from the expertise of the workshops and the craftspeople who make their products. This culture stems directly from the tradition of decorative arts and haute couture. First documented in 1298 by Etienne Boileau, Provost of Paris, there is meters dart were developed alongside new technical innovations, reaching their golden age during the Second Empire, before enjoying resurgence eith art deco. As for haute couture, it wes foreshadowed by Rose Bertin. Marie- Antoinette’s fashion minister’, who started to free the female body while also adoring her also adoring her creations with embroidery, lace and rose petals.