Fashion is changes, and so was regarded from authors in the 1960´s. R. Bathes was notorious for his analysis separating images in two sides and thus was considered for fashion images. In those terms undesired representations were dropped and desirable aesthetics were to be incorporated. And such a diachronic worked for fashion and markets for decades.After the death of Alexander Mcqueen in 2010 fashion turned its attention towards its cultural message, museums and life style. Therefore fashions became seductive incorporating a synchronic paradigm where old plus new, painful plus joyful, private plus public became its corpus.The nature of fashion changed and images became interesting incorporating both sides: the sentimental and the cultural. Thus authors from 2000, incorporate the term seduction for the structure of fashions.The new paradigm is set to be the seduction of culture and hyper objects. G. Lipovetsky develops the seductive nature of images as a topic for fashions in the new millennium.Fashion is created as global seduction and it incorporates the past and the present, the painful and the joyful and never leaving heritage behind. New creators such as Rick Owens have a dual aesthetics in their world. That´s the new semiotics of fashion, after 2010.