is not theory, but the attempt results in the verb. Styling is not a word compact. Used to purge diversity. We manage to define terms specific parts. If the nerve had been a hair more or less readable arguably at its peak resides algid presence of signs that explain rockabilly, but it does not altogether. In its ripple, sometimes hollow and other solidified by the cream or gel, lies only an omen, like the quiff and flattop hairstyles had served at different times to locate the Marine, the American middle class man and the skinhead, like Japanese variations of this class represented in the Punch perm going to set the fashion style of mafia-yakuza in the 60's. Arguably
styling is an event, and that's when we think of other examples: the eighteenth-century court society had placed a wig and had as noble a lace blouse. Among the wig and hem creates a fixed relationship: could explain the male ornament based on noble attempts to distance himself from the ways and customs of the populace and an emerging middle class still end up not only by guillotine and blood monarchy but also the route that would male born into a paroxysm of form, a refinement in the loop sustained rococo. Although the theory can be a hobby, something tells us that the French Revolution orchestra as the repudiation of the decoration carried to flourish. All this comes to meet other permit: the style can only be defined through a list of signs. The pledge is nothing without the shift towards what makes in the body context, together with other supplements, however, overlaps, folds, shapes and colors.
The black (and other ranges less austere) is inseparable from the body environment, and so we see in some subcultures, from the rocker of the 50's to 90's Gothic. The same color reference minutiae 
different, because if the first is characterized in a way to stay out of the seminal cream of the middle class and pastel colors, the second draws a deep, dark hole. When style becomes the norm institutionalized can talk about that other cultural figure, even anthropological, by which the expression becomes a code manufactured in number and clearly defined without the possibility of extending it to other stylistic if not through the exaggeration of the elements already present in it: the stereotype is 
manufactured style. The possible correlation between the two terms, one consequence of the other in a more or less visible process of objectification, can operate in two opposite directions, or setting the rules are guidelines on capitalization style symbolic figures making progress toward other dress code, or overruns itself in a particular style that will give visitors a parody interlude, even cartoonish, socially regulated. The stereotype, in general terms, can be addressed as the manner in which the style is known for excess parameters and therefore a stimulus to the copy and overprotection of the elements that construct. Arguably, all movement-based group sartorial style tends to create a formal, stereotype which features are to be identified unambiguously from an amplification mechanism. However, the aesthetic charge works on the same axis which forges the identity of the group is an anthropological necessity of identification within a community, community or subcultural group. Style, and with it the vintage the stereotype, refers to a map of descriptive behavior, or how the group operated on the interrelationships. These guidelines also intercede in setting the style through his signs immovable, but a coin always has two faces. On the one hand, the moral code. Alternatively, the style. The cliché
is a variant of the stereotype that makes us realize that a style we derive a concrete behavior. Note
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