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This inquiry studies urban communication and its devices of attention. The objects of thisinvestigation are the fashion images printed in banners, billboards, images in buildingsand interiors of shopping centers. The current metropolises show off the fact that theyhave being organized around the production and the seduction for almost two hundredyears. In them, it is possible to check that is built a practice of appearances beside thehistory of the persons and objects. Paradoxically, the metropolises practice ways ofremoval, at the same time that social movements produce forms of closeness. In thathabitat, it was developed the sewing industry and next to it, a demanding andsegmented public moved by the novelty. It is also in the same stage, played by beautyand consumption, that the advertisement image explores its appeal to an immediateone. So, contemporary cities so much produce fast-fashion products as much socialtypes here called image-costumer. It is necessary to emphasize that to be delightedbefore images, depends on the personal capacity of the individual in managing thereceived data. In this context, different tendencies of reception are shown: some acceptin the full text the pretentious images and others seize only the languages proposed bythe media. The hypothesis of this inquiry proposes that fashion images fill out individualdeficit through the reconfiguration of their symbolic elements. The first symbol of theindividual it is the images that he stores in his memory. Since he was born, the individualis enclosed by stimuli, particularly visual stimuli. These symbols that support theindividual nowadays they are also explored by advertisement market. In order tounderstand the dynamic of these events the following objectives are put: 1. to identify inwhat ways the observer appropriates the fashion images; 2. to investigate thecommunicative potential of fashion billboard. The connecting thread of this inquiry goesthrough the reflections of Dietmar Kamper who discusses the technical images; HarryPross who treats the pragmatic results of the symbolic orders; Baudrillard and MiltonSantos, they analyse the mediation of the objects in urban space; Walter Benjamin andGeorge Simmel, they point out the reflexes of urban life on the individuals. There aretwo the axles of this inquiry, a vertical, which means, a bibliographical lifting and, theother one, horizontal reached through field work. At both, it is valued in which measurethey bring near the images of surface of those primary ones filed by the individual in hismemory. The images in fashion billboards are objects of specified glances and theycontain in its structure an efficient device of attention: the face. In that context, theobserver and the image are face to face but the binomial face-clothes, in the billboards,reveals a mechanism of variation. Because in making seeming, simulating, by the use ofthe garment becomes a way for going out from the boredom, the changing, when thepotential is going up in value of transforming stimuli. The communicative strength of thebinomial face-clothes rests in the capacity of the individual of turning elements of thememory into realizable objectives. Since, contemporary individual is enclosed of objectsand feelings to build a visual identity

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