Artieda 2011

the quarrel only increases. To this respect, Wilson (1992) if relates: When diverse types of fashion underline the sexuality, or when they are interested for sort inclinations, many amongst us we can feeling threatened in them or unsafe. For the woman, especially, the standards exaggerated or frequent arbitrary of beauty can to lower it and to be even though offensive. Rudofsky (apud ROUSE, 1989, P. 11) brings the idea that ' ' animal and man clothes serve the same the intention very? the election sexual' '. Recently Joseph Stiglitz sought to clarify these questions. For this author, the woman must keep its partner ' ' permanently excited, changing its form and cores' '.

Translating into the branch of the fashion, she would be the same that to say it woman to vary forms, models, you cut off and prints to be always calling the attention. More old, the women were considered properties of the husbands and were subservientes to the men. At this time, feminilidade was a disabled and question to be fragile for almost all type of effort. ' ' Fashion and indumentria, the way as a woman appears, will be still the main way by which that feminilidade is constructed, designated and reproduzida' ' it affirms Barnard (2003). To survive in the worlds of the commerce and the industry, a man had to work arduously and to commit itself to the proper economic progress. This plastered any possibility of the men to use another type of clothes that was not that proper one to work and to provide its sustenance and of its family. In accordance with Rouse (1989, P. 109), until the end of century XVIII, as many men how much elegant women dressed ' ' golas well pleated, cut suits, skins, jewels, wigs, rendas' ' , etc. Today these vestments alone would be adjusted, under the concept and point of view of one determined population, if a man was dress of this form to present a theater part or to use to advantage the carnival.