英国财产学论文代写：街头时尚的创意
正如Lucy(2011)所说，street style是最具原创性也是最真实的。它揭示了人们真正穿的套装，而不是出现在t台或豪华时装系列。与主流时尚相比，街头风格往往与青年亚文化有着密切的联系，往往被认为是时尚世界中最真实的部分(Taplin, 2014)。有趣的是，为什么研究人员Lucy(2011)认为街头风格是时尚世界中最真实的部分。这是一个值得探讨的问题，因为这确实会说明街头风格的原创性是一个影响因素(Gory et al.， 2014)。由于特定的社会环境会产生相应的时尚，所以街头时尚总是有创意的。
英国财产学论文代写：街头时尚的创意
街头青春时尚就是这样一种时尚。在20世纪60年代，它被认为是传统文化运动的一部分。这是由年轻人发起的反主流文化表达的一部分(Shinkle, 2008)。它代表着当代文化和社会主流价值观的对立。对主流文化价值观的失望、怨恨和拒绝构成了时尚现象的主题。随着世界范围内反对年轻人的思想文化运动体系的扩散，时尚发展成为一个特定的群体，是街头时尚的一种大规模的时尚现象(Kawamura, 2012)。此外，这种青春时尚与大众时尚同时并存的产业部分被吸收，部分被解构与重组，从而体现在大众时尚的行为中。街头时尚具有鲜明的反主流文化意识，因为它赋予了青年时尚反主流文化灵魂的内在特征，因为它会分别作为叛逆青年等群体的标志或标签。正是这种对当代社会生活形态的象征性表达，颠覆和反潜艇的一切既定模式和规则(Luvaas, 2013)。因此，该系统试图创造新的时尚价值和意识结构，或至少为时尚新价值和美学的到来扫清道路。
英国财产学论文代写：街头时尚的创意
As Lucy (2011) suggests, street style is the most original and is the most genuine. It unveils the ensembles that people really wear, instead of what appears on the catwalk or in a plush couture collection. Compared with mainstream fashion, street style is always closely related to youth subcultures and it is often considered as the most real parts of the fashion world (Taplin, 2014). An interesting aspect here is to understand why researcher Lucy (2011) stated that street style is the most real part of the fashion world. This is a question worth exploring, as this will indeed show how originality of street style is an influencing factor (Gory et al., 2014). As the specific social environment gives birth to its corresponding fashion, there is always originality in street fashion.
英国财产学论文代写：街头时尚的创意
Street youth fashion is such a fashion. In the 1960s it was considered as part of a traditional cultural movement. It was part of the counterculture youth-initiated expression (Shinkle, 2008). It stood for opposition of contemporary cultural and social mainstream values. The disappointment and resentment, and refusal of mainstream cultural values formed the theme of the fashion phenomenon. With the proliferation of systems of thought and cultural movement worldwide, which acts against the young, fashion evolved into a specific group that is a large-scale fashion phenomenon of street fashion (Kawamura, 2012). In addition, this youth fashion and simultaneously public fashion industry partly absorbed, partly deconstruction and recombination and thus reflected in the behaviour of public fashion. Street fashion have distinct sense of counterculture, as it gives the intrinsic characteristics of youth fashion counterculture soul, as it will be the same as the symbol or tag rebellious youth and other groups separately. Exactly, this symbolic expression on contemporary social life format all the established patterns and rules of subversive and anti-sub (Luvaas, 2013). This system hence attempts to create new fashion values and structure of consciousness, or at least for the arrival of new values and aesthetics of fashion clearing the way for change.
