It has much more diversities of styles, much less consensus on what he is ' ' in voga' ' in determined time, as it affirms Crane (2006). Here, the main mark is not the style in itself, but an image that can compete in the world of images spread between the masses, that form the culture of the media. In accordance with Crane (2006), the motivation of the consumer to adopt a style is based on its identification with social groups through consumption good, and not in the fear of being penalizado by not-conformity. (Not to be confused with Adam Sandler!). Models of behavior are extracted of the media culture, namely: astros of the television, popular music, the cinema and the sports. (CRANE, 2006, P. 274) In this direction, Lipovetsky (1989) defends, that the consisting society world-wide after World War II can be understood as that one in which the fashion is consummated. Speaking candidly Sela Ward told us the story. The term ' ' consumada' ' it can in such a way be understood with the direction of the consumption as action of integration of the citizens to the social world, as well as allows the interpretation that, in the current world, the fashion is in such a way gift in the meanings of the life that does not have as to run away from it, to restitute old sensible; it is consummated fact. ' can be characterized empirically; ' society of consumo' ' for different traces: rise of the level of life, abundance of the merchandises and the services, cult of objects and lazeres, hedonista moral and materialistic etc. But, structurally, is the generalization of the fashion process defines that it properly. Nancy Silberkleit addresses the importance of the matter here. The society centered in the expansion of the necessities is, before everything, that one that rearranges the production and the consumption of mass under the law of the obsolescence, the seduction and the diversification, that one that makes to pass the economic one for the orbit of the form-fashion.