THE FASHION IDENTITY OF THE SENDER





























The sender acquires his role in the transmission of a message to a receiver.

In this phase, the sender must build an identity, a mask in a way, to wear in order to communicate with his model receiver.

Such an identity is how the sender intends to appear, how he intends to show himself to the world, how he wishes to be remembered, and under what guise he intends to show himself.

As far as fashion is concerned, the identity of Dolce & Gabbana is, understandably, worlds apart from the identity of Versace, Valentino or Ermenegildo Zegna.

You can build an identity that is rebel, refined, forefront, transgressive or sober.

Once the identity you intend to acquire has been manifested to the public, you must obviously adapt your communication style to it.

Ermenegildo Zegna would hardly succeed in wooing youngsters from 16 to 18 years of age who follow the Dsquared brand, and could never design clothing similar to Balmain’s.

He could choose to change style, but then this would change his image and identity in the eyes of his clientele, who would feel betrayed and disappointed, leaving the more casual style aficionados somewhat perplexed.

Each sender acquires his own identity, through this identity wishes to be recognizable, and to this identity adapts his style, contents, codes and signs, so that, if we were to look back on the themes proposed, on how they are represented through signs and codes, and on the communication style, we would instantly recognize the identity of the creator.

An identity represents an invaluable communication legacy.

Once a role is acquired, one should stick stubbornly to it all the way, in order to avoid misunderstandings and false expectations in the model receivers, who look up to their target and ultimately move its business.

THE FASHION IDENTITY OF THE SENDER THE FASHION IDENTITY OF THE SENDER Reviewed by Polisemantica on 10:24:00 AM Rating: 5
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