Fashion is the conscious embodiment of present and ideal expressions in forms that assimilate with culture and society that inform qualities of a person and their interaction of this global system. This semester, my understanding of fashion has grown quaintly. I understood previously that fashion is a global monstrosity of past, present and future, that is both challenged and affirmed in personal practices and by public standards. Rather, this semester has clarified aspects and categorized this industry into a clearer format for me. For instance, the clear categorization of natural subjectivity of habitus in the form of an intersectionality map. “The concept of habitus reminds us that it is not just what one wears that matter, but also how one styles, fashions and dresses the bodies that tells us about everyday processes of subject formation as the interplay between subjectivity and the subject positions people inhabit (Kaiser, 31). Therefore, each personalized intersectionality map displays the wearer’s awareness to fashion, while still embodying the clearest categorization of style, fashion, dress practice Susan B. Kaiser highlights. This other form of clarification style,“agency in the construction of self through assemblage…” (6), fashion, a social process of culture and change, and finally dress, natural practice of body modifications/enhancements, all reinforce how fashion as a whole is a daily practice. This practice is just that, a practice. It evolves, it displays discipline (uniformity)/expression (drag culture, androgyny, subcultures, for example), it’s challenged by our emotions of envy (celebrity glamour), but also our nostalgia for historical fashion pasts. Yet, there’s no form of completion. Fashion has and will remain ongoing and modifying as our intersectionality maps mold around our new lives, creativity explores new opportunities for desire, and society affirms new demands and regulates expectations.