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In eastern Indonesia, both the production and use of traditional textiles have been transformed as the production, use and value associated with textiles have changed due to modernization. In the past, women produced the textiles either for home consumption or to trade with others. Today, this has changed as most textiles are not being produced at home. Western goods are considered modern and are valued more than traditional goods, including the sarong, which retain a lingering association with colonialism. Now, sarongs are used only for rituals and ceremonial occasions, whereas western clothes are worn to church or government offices. Civil servants working in urban areas are more likely than peasants to make the distinction between western and traditional clothes. Following Indonesia's independence from the Dutch, people increasingly started buying factory made shirts and sarongs. In textile-producing areas the growing of cotton and production of naturally colored thread became obsolete. Traditional motifs on textiles are no longer considered the property of a certain social class or age group. Wives of government officials are promoting the use of traditional textiles in the form of western garments such as skirts, vests and blouses. This trend is also being followed by the general populace, and whoever can afford to hire a tailor is doing so to stitch traditional ikat textiles into western clothes. Thus, traditional textiles are now fashion goods and are no longer confined to the black, white and brown colour palette but come in array of colours. Traditional textiles are also being used in interior decorations and to make handbags, wallets and other accessories, which are considered fashionable by civil servants and their families. There is also a booming tourist trade in the eastern Indonesian city of Kupang where international as well as domestic tourists are eager to purchase traditionally printed western goods.
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Though different textile colors and patterns changed from year to year, the cut of a gentleman's coat and the length of his waistcoat, or the pattern to which a lady's dress was cut, changed more slowly. Men's fashions were largely derived from military models, and changes in a European male silhouette were galvanized in theaters of European war where gentleman officers had opportunities to make notes of foreign styles such as the "Steinkirk" cravat or necktie.
Military technology has played an important role in the fashion industry. The camouflage pattern in clothing was developed to help military personnel be less visible to enemy forces. A trend emerged in the 1960s and camouflage fabric was introduced to street wear. The camouflage fabric trend disappeared and resurfaced several times since then. Camouflage started to appear in high fashion by the 1990s. Designers such as Valentino, Dior and Dolce & Gabbana combined camouflage into their runway and ready-to-wear collections.
fashion, style, mode, vogue, fad, rage, craze mean the usage accepted by those who want to be up-to-date. fashion is the most general term and applies to any way of dressing, behaving, writing, or performing that is favored at any one time or place. the current fashion style often implies a distinctive fashion adopted by people of taste. a media baron used to traveling in style mode suggests the fashion of the moment among those anxious to appear elegant and sophisticated. slim bodies are the mode at this resort vogue stresses the wide acceptance of a fashion. short skirts are back in vogue fad suggests caprice in taking up or in dropping a fashion. last year's fad is over rage and craze stress intense enthusiasm in adopting a fad. Cajun food was the rage nearly everywhere for a time crossword puzzles once seemed just a passing craze but have lasted