因此，时尚促进了男性和女性的形象塑造。因此，决定社会接受被认为(Barron, 2007)。因此，男性对时尚的兴趣被认为是柔弱和不自然的，而女性对时尚的兴趣被社会所接受，被认为是权力的着装。然而，魅力摇滚乐队的出现在80年代，如洛克西音乐和表演艺术家像男孩乔治和大卫鲍伊随着新的浪漫主义，亚文化同样有责任打破社会的传统规范，通过穿着明显的女性化指标。这些女性化的标志是化妆，裙子，指甲油，身体轮廓和更多扮演传统的性和性别(Bovone, 2006)。因此，我们认为，个体所能感知的最初判断与性别和性别有关，由于社会所感知到的理想着装感，这在个体的着装中是可以明显识别出来的。
Gender and sex are two characteristics that are considerably emphasized when viewing the identity and fashion. It becomes imminent to note that similar to clothing and fashion, gender and sex are not similar. While sex is biologically established and determined, the gender is developed culturally (Anderson, 2005).
It is a well acknowledged claim that the fashion for men changes less frequently as compared with the fashions for women. Moreover, men are regarded as the producers through cultural constructions and having active sex within the societal context, while women are viewed to be the passive sex and the consumers of fashion (Barnard, 2014).
Moreover, the fashion associated with men is linked with the practicality and function more than the appeal of aesthetic nature, which facilitates them to function and complete the responsibility as the provider. The fashions pertaining to the women on the other hand embraces the practicality and function but places high essentiality on the product design and aesthetic appeal. Clothing and fashion are considerable within the socialization process within the roles of gender and sex.
Therefore, the fashion facilitates the image sculpt of both male and female. Therefore, determination of the societal acceptance is regarded (Barron, 2007). Due to this, fashion interest of the men was regarded as effeminate and unnatural whereas the women’s interest within the fashion was acceptable by the society and was considered to be power dressing. However, the glam rock bands emergence in the years of 1980s such as the Roxy Music and the performance artists like Boy George and David Bowie along with the New Romantics likewise subcultures were responsible in breaking the conventional norms of society through wearing evident femininity indicators. These indicators of femininity are make-up, skirts, nail varnish, body conscious silhouettes and more playing the conventions of both sexualities and genders (Bovone, 2006). Hence, it is regarded that the initial judgment that can be perceived by the individual concerns the gender and sex and this is evidently identifiable from the attire of the individual due to the ideal dressing sense perceived by the society.