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2.1.2 街頭時尚
對照於現在臺灣最常將「潮流」或「潮」應用在服飾業界的行銷，真正應 該注重的是－當我們應用潮流二字於服飾產業時，我們指涉的並非特定店家或 品牌，而是一種奠基在特定的生活風格或是態度之上的外顯呈現；在 2010 年 六月的政大廣告系畢業製作中統計「臺灣創意 T-shirt 店家」（指製作並販售非 主流時尚之臺灣設計之 T-shirt）家數達到三百餘家（數字在近年多有增減變 動），這些店家部分會出現在所謂的潮流雜誌上，並且被形容為非常潮的服飾，
這部分的廠商其設計與品牌理念便是奠基於特定的次文化，總體來說它們被類 歸於所謂的「街頭時尚（Street Fashion）」，根據服飾行銷學（金凌、高姝月、
潘靜中、于範，2000）的定義，街頭時尚與主流時尚之間的差異在於，街頭時 尚是由下而上的、脫離或外生於主流時尚的流行之外的；引用 Yuniya Kawamura
（2006）對於日本的街頭時尚與主流時尚之間的關係論述如下：
…idea of the social setting being divided into front and back stages, it can be said that there was a clear distinction between the front stage where fashion was exposed and the back stage where the clothes were being manufactured for the rich. Once the clothes appeared on the front stage, they were converted into
‘fashion’. Thus, the producers of fashion and the producers of clothing were separate. There was a clear division of labor, and the occupational categories were tightly controlled. Even after fashion became an institutionalized system in Paris in 1868 （Kawamura, 2004a）, the division of labor was fixed. Fashion was then produced by designers and couturiers. The power relationship between the designer and the consumer was reversed when the designer began to initiate the latest style. The professionalization of occupational categories in fashion had been intact in the mainstream fashion world.（Yuniya Kawamura，2006）
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Japanese street fashion provides the industries with a new model of fashion that blurs and defies occupational classifications in fashion. This fashion is no longer produced by well-trained designers who know how to drape, make patterns and instruct sewing procedures. Anyone with great ideas is in the position to produce and disseminate fashion. This new model allows the teens to be designers, merchandisers, salespeople, stylists and models among many others. They are the gate-keepers, as well as the agents, of street fashion.
Yuniya Kawamura 將對於日本街頭時尚的研究，用以對照從過去以來一直 存在的主流時尚，然後發現過去的主流時尚就像一個台前台後的關係，當設計 師給予了時尚定義以後，躍然臺前的呈現就成為當下主流時尚，臺前後的分工 是清楚而不可逆的；分析日本（2006 年以前）的街頭時尚，時尚（流行於街 頭的非主流時尚）的決定者不再是幕後為了富人做衣服、受過訓練的專業人 士，而是同時間身兼街頭時尚守門人與代理人的非專業人士了，Yuniya Kawamura（2006）另以其實證研究說明了以下發現：
The professional labor that used to require some formal training is being replaced by untrained but fashionable amateurs. They are the ones who create street fashion. As Crane （2000） pointed out, in postmodern cultures, there is a shift from class fashion to consumer fashion. The consumers or the readers are now playing the role of the producers and disseminators of fashion and thus, the boundary between production and consumption of fashion is breaking down.
以上的論述說明了街頭時尚與主流時尚之間的關鍵性不同在於「時尚」定 義者本質上的差異，並且也以在日本的實證，發現了街頭時尚的關鍵影響人是 為” untrained but fashionable amateurs”－未受過正式服飾相關訓練的時尚業餘 人士，亦即這些街頭時尚的定義者並非任何與街頭時尚不相關的外人，而是長
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立 政 治 大 學
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期浸潤於街頭、對於街頭的風潮與趨勢具深刻瞭解的業餘愛好者，他們或許並 不關心主流時尚的走向與定義，但是非常關心同樣在街頭的、身邊的或同群體 的人們的觀感與偏好，由這樣的人來定義的時尚因此被Crane（2000）稱 為”Consumer fashion”而非過去明確區分台前台後的”Class fashion”。而能夠進 行街頭時尚定義或操作其符號的人，我們將其定義為「文化媒介人」，將在以 下章節對其定義及作法進行說明。