As I mentioned in the article “It Came From Over There” we are witnessing applications of technology in pragmatic ways that are far fom innocuous. Not only are these indicative of where our focus lies but their commercial success is telling us that the public has other ideas in mind of what constitutes practicality in fashion and what consitutes a daily need.

The apocalyptic path coupled with social unrest brought on by strains in various economies is not a comfortable pairing. Psychologically, one feeds the fear of the other. While some collections have chosen denial others have looked at possibilities that mirror past cycles, borrowing military elements and infusing these into the pret-a-porter collections, as if to prepare the consumer for battle.

Our World Wars came on the heels of global unrest and economic strain, as though there was a need for the cumulative stress to find an outlet (and not a healthy one). As such, clothing that came around those periods were more utilitarian. Part of this impetus was rationing of materials and part of this was where our priorities were. Adornation and decoration are found in times of peace, after all.

Although there is a lot of activity in the Middle East, this volatility is perpetual. However the concern of Iran closer to developing nuclear weapons and the awareness that Israel has such weapons does not bring comfort to many nations where scenarios have been played out of this conflict reaching international participation on a similar level. Add concerns of worsening, more destructive weather form global warming and economic conditions still affecting many parts of the world in ways we haven’t seen for a while and one can get outright defensive. And fashion is doing more than reacting through interpretive design.

Not too long ago it was announced in the New York Times that Woolrich’s was enjoying brisk sales with their casual daywear. It turns out that the clothing had practical aspects to their design in the form of structural alterations to support carrying weapons in a stealth unnoticeable manner. And they’re not alone. Another company called Under Armour also has expanded their clothing line to not only allow for carrying weapons but to allow for easy access and minimal detection as well.

Meanwhile, Ecouterre recently announced that scientists at the University of South Carolina have found a way to make a t-shirt bullet-proof without compromising its weight or comfort level. Surely this technology will find itself into clothing stores, especially in the 37 states in the US where carrying a gun is legal.

What do we take from this? Well, it certainly puts into perspective that concern is a class issue and that what we see being created for the masses does not necessarily reflect what is being demanded of by those who can afford to wear the more creative creations that make fashion fascinating. And just as in the 20s when fashion took inspiration from the street, it is inevitable that these innovations will find their way into the more gentile collections. Of course, it will be executed with more polish and tasteful embellishment. After all, one doesn’t need to lack style to be prepared for whatever it is that many seem to be waiting for.

There were many things to look at in the collections and most of the major influences have been covered (some even before their incarnation on the runways) so you’d think there would be less to say. However, fashion is an evolutionary process and sometimes a trend buried amidst the others can actually be the seed of something to come. Other times it can be a glimmer that fails to capture future sentiment. Nevertheless, those minor (or seemingly so) elements are just as worthy at noticing.

The see-saw of cross-cultural influence takes place within our more recent fashion collections history, with some decades being more open to other cultures as inspiration versus other times where more domestic needs prevail. The exoticism of the 20s was not constant, especially as economic and global concerns overtook this adventurous spirit more reserved for times of prosperity and peace. During the post-Depression, War and early post-War years there was less interest in exotic external influence and fashion reflected this.

But the more prosperous times yielded those exoticisms. Art Deco was heavily influenced by all that is international, a mixture of modernism with references from Egypt, the Orient and to a lesser extent from Native American culture. Pueblo Deco streamlined the geometry from the Southwest, its geometry well within lines with the Deco aesthetic. With interest in seed beading to make jewelry, further Native American culture offered its contribution, although not as keenly noticed as the more exotic influences one typically associates with that period.

The exo-cultural influence that waned during the less prosperous 30s/ration-plagued and tension-filled 40s and suspicious early 50s would return along with prosperity, and it would come through pop culture. Films depicting classic good & evil battles from pioneer days filled theatres and televisions, inspiring wide eyed youth into inspiration. The suede fringed jacket of frontier days from Native American depictions gained popularity with young men and later amongst the youth as the hippie movement of the 60s emerged as curiosity later became fascination with everything natural. From innocence to awareness, this garment, a symbol of Native American fashion, had grown with one generation as meaning morphed along with them.

The 60s and 70s saw a renewed respect for and embrace of the source of a culture that respected and treasured Mother Earth. Again, seed beading came back into style and Pendleton blanket patterning long associated with Navaho culture. The naturalistic back-to- nature ethic harmonized with the values of indigenous cultures that this generation rediscovered as they rejected everything their parents and their generation stood for.

Pop culture got further support in propelling this influence into mainstream. In particular, Cher, alre4ady a mega-pop icon of the 70s incorporated native American fashion  into her style repertoire, something quickly embraced by the mainstream by designers such as Ralph Lauren who further capitalized on this look.

Time and again various aspects of Native American culture would find their way into the international runways. We saw the Southwest Pendleton blanket come back into fashion in the late 80s when it appeared on the heavily influential television show “Twin Peaks”, a program directed by David Lynch that catapulted to international acclaim. That the program was so influential that it affected fashion collections world-wide was testament to pop cultures’ appeal.

The 90s saw an embrace of indigenous influences as the 70s was revisited post-grunge, albeit to a lesser extent and more vague in reference, but couture saw native American influence in the later part of the 90sd when Galliano came on board with Dior, providing a collection rich in detail heavily referencing Iroquois tribal detail.

Now we have a return of the pioneering spirit and fortitude to look beyond despite the same influences that would have caused us to retreat, and we are not afraid to look for inspiration beyond the familiar. Our awareness of the fragility of the earth and the overwhelming pace of our technological evolution of recent brings us back to look towards simpler times. And indigenous cultures tend to be the source when we choose this direction.

For SS2011 Tom Ford featured fringed moccasins amidst his offerings. Recently we saw a reinvigorated interest last year with tribal influences and this fall winter we saw some designers referencing Native American culture in their collections; Dirk Bikkenbergs and Just Cavalli featured some Navajo pattering, while Jean-Charles de Castelbajac seemed to reference tribal patterns from West Coast Salish tribes (and at the far, far end of the spectrum, Isabel Marant incorporating southwest cowboy embroidery on some of her designs).

While Native Americans are this time not pleased with the Western commercialization of Native American influence, claiming it is exploited in a way that is far from the values embraced by their cultures, it has opened the door to younger designers with indigenous roots who are bringing aspects of their culture into the fashion limelight (such as Shona Tawhiao, Tammy Beauvais, Adi Koila Ganilau , Linda Lepou and to a lesser extent Disa Tootoosis).

There is a lot to derive from other cultures and other places and fashion has morphed to a degree that, as we seek out new inspiration that little is sacred. While the less spiritual materialistic aspect of fashion cannot be squelched, the pursuit of inspiration may at least open doors to exposure and discovery of other people in other places that we have overlooked in our cultural progress, and that this recognition and appreciation of technique and artistry can afford some compensation for the feeling of exploitation that this minor trend direction might have unwittingly inspired.

For example, the reaction to the economic austerity has spawned a rise in custom, or bespoke, design shops that produce more tailored and longer lasting items that may not reach the catwalks. What these produce may not necessarily be design leaders, but the concept of the business model they offer does indicate the direction of fashion’s evolution and survival. The individuality that can spawn from smaller localized production facilities means there is greater potential for the streets to impact design, much in the same way that happened in the early 20s when fashion followed cues from the youth, in the late 70s/early 80s where avant garde fashion players inspired designers rather than the other way around and in the 90s when austerity resulted in the grunge movement.

But you can be sure that the larger labels aren’t ignoring this. Designers such as Prada have set up localized design posts offering custom bespoke fashion to reduce the carbon footprint while Diesel has introduced BLKDNM to offer customized denim design options. Meanwhile, Issey Miyake’s Haat line is producing a bespoke collection focusing on localization tied in with the line’s artisan approach. Ecological and economically-minded despite the initial price outlay as these shops produce garments at a quality level that ensures dollar-per-wear without compromising the specialness of luxury a higher-priced line promises.

This smaller level of customization provides more possibilities of new to emerge (or forgotten concepts to re-emerge). While classics are good buys in providing versatility through their simplicity, modular design is being more embraced as a result of current austerity by offering not only more dollar for wear but also more variety from a single purchase; the garment can assume different looks, offering the wearer variations of a garment to expand the variety in the wardrobe where classics cannot. (see “Move Me, Change Me” , Feb 4^th archives).  Unknowns such as Orly Shani, contestant on USA’s television reality competition “Fashion Star” did well when offering a modular design, having it featured in tony retailer Sak’s Fifth Avenue to rousing success, something sure to be noticed by other designers looking to protect interests as increased competition in tight economic times requires more saavy concept implementation.

There are other aspects of non-catwalk design not to be ignored. Amidst some of the themes of fashion have come some more realistic applications in less optimistic places, seemingly in tandem with underlying themes more prominent in the catwalks of recent. How these will influence designers’ imaginations will depend on how much the public focuses on them, and that will be discussed in the next article.

Part of incorporating influences is timing them with educated guesses, such as expecting certain countries or cultures to come into focus due to changes in the economic landscape or cultural impact. By referencing them in anticipation of their impending influence these designers open the door to shaping collection directions, or at least broadening the sources that are incorporated in collections to come.

Sometimes it means looking towards the possibilities, looking at various countries that are developing as the world looks to sustain production and keep their economies thriving. And in our big world, we can always count on someone doing better than someone else. As those countries gain attention our runways respond accordingly; sometimes to honor and celebrate their contributions, sometimes to entice as those companies with more ambition look to enter their markets by culturally meeting them part way.

We see that with China. Recognizing their economic status amidst the instability of others we see collections nodding to their culture, incorporating aspects of design in homage to their sensibilities as they look to make inroads into their market. But there is also recognition that one cannot put one’s eggs in one basket and, with our collage-like atmosphere that fashion has today, we fortunately have room to spread our attention. Some designers have shown us in their fall/winter collections that they, just like investors, are looking south of the equator.

Trending companies such as Mudpie are already ahead of the game, keenly aware of what is next. While Olympic fever is focusing now on London and a few years after that in Russia, the next summer Olympics will take place in Rio de Janeiro, Brazil in 2016. And a few years before that, it will host the FIFA World Cup in 2014. And currently companies are already investing in this country (and, to a lesser extent, others in this continent such as Chile, Argentina and Uruguay) as they see it maintain control of inflation while it enjoys a healthy and more balanced domestic market, being that it is more self-sufficient. It is in anticipation of the rise of these nations as economics places more prominence in our culture that opens the door towards embracing aspects of their culture in design. 

A few designers looked to South America for reference, albeit in vaguer tones. Some, riding with the cocooning and 70s influence that has been more prominent incorporated ponchos, in collections from Carlos Miele, Christian Cota, Custo Barcelona, Michael Kors, Y-3, Marques’ Amelda for Fashion East and Tsumori Chisato. Joseph had this as well as other Latin American elements; Mara Hoffman had South American influence in her collection as well.

Will this mean we’ll see more Latin flavor in design? Time will tell. If South American countries gain economic prominence in the same manner as China has over the last few years then it’s possible. And given the couture focus of the 50s currently in fashion on the heels of 40s intermixed with 30s and 20s, it’s not a far leap from a time when Latin music held exotic international appeal in cosmopolitan circles to now. And with the world having its eyes on South America in the coming years, we may be fixated in the grand and glorious, gay notorious, South American way.

Rather, it is having just enough time with something new, or at least new enough to enough of the population that we can get curious without getting intellectually abandoned to our own devices. The perfect timing of recycled trends fits this model because they meet these conditions. But forecasting trends has its limitations because we are an evolving species with a multitude of factors that evolve our consciousness. It’s healthy that we aren’t so perfectly predictable. However, that’s not something a designer wants to hear when anticipation and preparation of a concept plus investment of time and resources satisfies a theory more than the reality of the environment.

In 1996 a movie was in the works with a huge expense, glamour factor and cultural relevance as it articulated social observations that the current audience at the time felt but hadn’t declared: the time-honored issue of fairness and democracy of social class. It wasn’t anything we haven’t been through before but the timing was right. The austerity of the fall of the decadence bubble of the 80s left many countries and cultures feeling the pinch as they tightened their belts after living a more prosperous existence (albeit a false one built on credit abuse, encouraged irresponsibly by governments looking to invigorate their economies). Many had to scale back and the gap between haves and have-nots widened. It didn’t go unnoticed and, for those who had a taste and had to leave material aspirations behind, the pain was felt more deeply. Job cuts, wage freezes, and other various austerity measures were imposed on this more vulnerable segment of the population while those on the higher end of the chain actually saw bonuses and raises. And while the first half of the 90s was one where conspicuous consumption was considered vulgar given the severity of the fall from financial grace, towards the latter half the consumption was starting to return.

This, coupled with media focuses on sweat shops and other corporate abuses stirred the public conscience. It wasn’t yet the stage of taking responsibility, but it was at the delicate line between recognition of unfairness and lingering desire for having that taste of decadence back in one’s life. And as “Titanic” came into the theatres, this story in its glory of vivid visual accuracy blasted forth. The Edwardian lines were fresh in the eyes of the public and designers alike and the opulence a perfect fit as fashion had become increasingly relevant as part of the attention of mainstream culture. And for those who were more into fashion in the 80s, the return of romantic English elements (such as frock coats) favored in Paris runways during Gothic exploration were easily embraced by the fashion elite who missed the heydays of better times.

You’d think that, with this being the 100^th anniversary, with social conditions being even more similar and with the return of 90s fashion itself that the Edwardian influence would be more prominent. Yet you can see in our culture that it’s not as powerful an influence overall. And while there were a few designers that incorporated vaguer element s of Edwardianisms and, to a lesser extent, flourishes hinting at Art Noveau (Etro, Giles, Andrew Gn, Louis Vuitton, and Vivienne Westwood)  for the most part these nods were more minor. So what’s the difference?

Despite the social similarities of frustration of economic equality we have changed. Our reality programming and forensic bent in entertainment has shaped our approach. Whereas the romance, aesthetics and rumination of our history had more weight back then, our critical examining side is now more prominent and more ingrained.  Fed a plethora of entertainment supporting our critical abilities to observe and assess, we can’t help but take that with us as we lean towards looking to the future. And there’s nothing romantic about that.

Also, this period of austerity is different. It’s more fearful, more widespread and more impactful. We’re actually focused more on re-evaluating our habits because the recovery is tenuous at best. We’re taking time to streamline our lives more, live with less and make more sensible choices from an investment point of view rather than merely consuming. And although dreams for a good life aren’t gone, our practical sides are more awake. And again that’s not romantic. Rather than reach for a taste we are reconciling that, for many, it’s out of reach, not as practical to indulge in, and not a priority. And many designers who pay attention may have noticed that, while tapping into previous cycles to mine ideas happens, not every trend has as much weight.

Certainly the events over the last six months were enough proof of that. Historically we’re a lot closer than before to sentiments of economic inequities faced in that period. But perhaps that’s a bit too close to the bone and dressing the part is the kind of fantasy that doesn’t sit well, especially if the clothing puts us in more of the villainous role. So while some designers have wistfully let in some of the romantic notions of that decade (i.e. the 90s) seep in, it’s more about hedging one’s bets and it proved to be a wise move.  Stuff happens when there’s too much time to think and while we’re getting cues to be inspired by fashion, the public seems to be saying that this one can go in the back seat. Judging by how many designers did not incorporate Edwardianisms, it looks like many were thinking the same thing.

Fashion is the soundless voice that screams its point of view when executed boldly to a world that is visually oriented, for pictures transcend language and tap into more base levels of understanding. It can define a generation’s perspective and signify a stand our society takes on moral grounds. Fashion can also be a platform for compassionate unity through honoring elements that are inherent to a cultural signature in positive expressions that elevate the cultural source.

It’s not often that we have this expression where international concerns are translated into affinity of representative style when looking at our more modern incarnation of fashion in the last century. Fashion tends to be more of a means of escape when referencing international elements. The exotic allure of an unfamiliar place is what seduced Yves St. Laurent to mine looks from Morocco in the 70s. To the bulk of the population little was known about his favorite haunt and he brought the love of this culture to his customers, which in turn rippled through and influenced other collections. The timing was perfect, the elements were fresh and the mood of the public was just right to embrace them.

Now we are more plugged in to the goings on of the world. Whereas incidents once seemed remote the level of real-time reporting is way more sophisticated. Things that we would vaguely hear about can now be seen as if it were local news. And that reflects the state of the world, that our humanity is a lot closer than we think. So should disaster befall a nation that has broad consensual fondness, especially when their culture al quirks are enjoyed by our own, we feel for that nation just a little bit more.

The disaster that affected Japan is a more timely example. There are many nations that suffer from natural disasters, but somehow this nation in particular resonated more. But why Japan? Because the bulk of the modern elements that we now incorporate in our fashion originate from this tiny country where tradition is carefully preserved. Out of this mindset a small band of newcomers over thirty years ago decided to break the mold and forge fresh new ways of designing. Their impact was profound and their contribution was immense. That it came out of a culture rooted in maintaining tradition and supporting conformity and group cohesion over individual expression is more amazing. They did what our cultures did not, despite our culture’s framework of allowing individualism (at least moreso than in Japan) and a history of breaking rules. They didn’t think outside of the box, but outside of the planet.

And as a sign of affection and support, fashion has included elements as a form of solidarity because this culture has contributed so much to fashion. Last year we saw this most boldly form Giorgio Armani, who released an entire couture collection honoring Japan. His show was a modern expression of many traditional elements such as the textiles, the kimono cut, obi sashes and lacquered accessories.

And as this tiny country struggles with the aftermath, this culture is further honored in other more recent collections such as Alexandre Herchcovitch (kimono wrapping), Antonio Marras, Cacharel (kinonos and obis), Dries Van Noten (woodblock print style on textile), Givenchy (short-sleeved kimono cut and wrapping), Josie Natori (kimono wrapping), Maison Martin Margiela (blocking of Kimono textiles), Osman (Japanese-inspired florals), Piazza Sempione (kimono sleeves, some shogun short) and Yifang Wan (kimono wrapping) . Even Nicolas Andreas Taralis referenced martial arts in the wrapped items he put forth recently.

Japan offers clear-cut inspiration from its traditional dress. The elements are easily incorporated because, stripped to their essentials, the forms are sleek, modern, easy to wear and opposite to the complications of our mechanized modern western wardrobe. And as we already incorporate the more complex modern expressions of modern drape, construction and asymmetry that was put forth by the pioneers of modern fashion, these simpler more traditional Eastern elements offer a fine contrast without bypassing our affinity.

Since the huge influence made by Japan, we saw the major centers as the Big Five. Disaster has displaced one and for now it is the Big Four, but you can bet that we will look to make things as they were, and hopefully Japan will rebound to a degree we can not only appreciate from afar but can again incorporate more intimately as we did before. Until then, at least we are not letting them go unforgotten as we wait for recovery that restores not only their confidence but ours that it’s safe to fully return.

More so is finding foreign reference when tied with present elements of societal expression. Our political unrest over the past year that was branded The Occupy Movement was a powerful expression of dissent. Yes, it fizzled out as the message was too broad and direction was lacking, but it represented a large coalition of dissatisfaction in the status quo, and the sheer might of initial organization through social media demonstrated that the public could unite under mutual perspective with a speed and size not before seen. This speed and size did create dialogue and got the attention of those in power who could see some very uncontrollable consequences had it carried through. The power of protest gets its power though the size of the population and international discord of this magnitude was underestimated.

The fear wasn’t only the size, but because some participants were drawing comparisons of revolution under similar circumstances through historical comparison, mainly the French Revolution. Apathy from the ruling class amidst public suffering only encouraged results which ended that dynasty’s reign under gruesome means. Some of the “one percent”, as they were called seen on videos on the very public medium YouTube, was mocking the protesters and this only added fuel to the protests and resulted in broader public support. The protests suffered from lack of focus in delivering cohesive messages of remedy, failure of leadership and short attention spans but the point driven home by the size of the voice of dissention was made clear and governments realize they had to make some changes. In that regard the protest did succeed, if even only to a limited degree.

But this wasn’t the only point in time where revolution arose from a disenchanted public facing disparity under apathetic rule from a class with a remote and unreachable standard of living. The Bolshevik Revolution in Russia was another where class apathy opened the doors to rebellion from a public tired of substandard living while seeing their leaders enjoying a lavish lifestyle and tuning out the need for relief from the hardships of poverty. This revolution resulted in the assassination of the ruling Czar and his family and ushered in a new political system where the people were in charge and leaders were no longer separated by an unfair high standard of living. Here the rulers were expected to share in the responsibility and the people were to enjoy more of the fruits of the collective labour. Of course we know how things have turned out since then as power corrupts, absolute power corrupts absolutely and greed is an unfortunate aspect of humanity that creeps into even the best intentions, especially where politics are concerned. But the foundation of this revolution is very much in harmony with what we are seeing today and some designers have found a way to tap into this reference while anticipating future events with more superficial connections.

The public will soon be in the throes of the upcoming Summer Olympics in London. Many collections, of course, have incorporated some degree of athleticism in their spring/summer collections just as in the 90s. But there is another Olympics anticipated: the winter Olympics in Sochi, Russia. And the tangled web of reference brings about many elements into play.

Ongoing apocalyptic fears last felt during the 80s with Russia as a key player are somewhat in focus, especially in Europe where proximity is paramount. Also present is political unrest amidst the recent election of Putin where the fairness of his being elected is not going away and concerns that their nuclear arsenal may not be as safeguarded as hoped. But while this period has a place in various element of the collections (especially the French), there is something more that holds relevance.

The book “Dr. Zhivago” a story of a doctor/poet who falls for the wife of a political activist during the Bolshevik revolution was written in 1957 and came out in colourful splendor in 1965, both years that fall within trend influence currently seen in Fall/Winter collections. The story’s romantic images provide a backdrop for a story with an undercurrent that falls in line with current political concerns. The glamour of the period, though, is something a designer can sink their teeth into. Some have.

Eastern European, Slavic, Balkan, Russian...various aspects and hints of this whole region were found in collections from Altuzurra, Clements Ribeiro, Temperly London, James Long for Fashion East, and Versace. Valentino was vaguer with some folksy patterning that leaned to Eastern European origins, while Andrew Gn had a czarist military jacket amidst his collection. Balmain had Faberge references in textile patterning while Louis Vuitton had some heavy embellishments that seemed very Faberge-inspired in their arrangement and ostentation.

The cacophony of rich patterning is an aspect of Russian culture in harmony with the maxi print craze that currently competes with the minimalism that other designers are leaning to. In a way, there is a revolution within the collections, one side going for as much stimuli as one can absorb versus the wiping away of any traces of pattern to offer a clean palette. And much like the battles within our species, only time will tell which one will prevail and that, of course is not always by majority rule.

Our values and moral compass are very much connected in the cut, the way our body is covered or revealed, and to what degree. Stricter dress codes form cultures where religion is prominent, such as Muslim dress, detail the strictness of adherence and honoring of one’s beliefs. In cultures where freedom of expression abandons such restrictions, our beliefs tend to be on how our garments are worn, such as in the way shirt is buttoned or the choice of a length of skirt or even in the relaxing of volume to draw attention away from one’s sensual attributes.The fashion landscape from the Big Four, of course, looks to the modern mind of fashion and offer more variety, some that of course runs contradictory to codes where modesty is called into play. But our cultures are certainly thinking about religion and spirituality. As we are a third of the way into the year that was touted to be more apocalyptic in predictions, we have moved to mindsets where some are at peace with what may or may not come and some have decided nothing will come and have moved on. What is interesting is how circumstances are finding us looking a little deeper at what lies beyond and our role with it.

During the late 30s little know but silver screen cult favorite, designer Valentina Sanina Schlee,  created demure fashions that were subtle and monastic. With a theatre background she saw life to be lived with vigor, our clothes a personal costume for the role we live. Hollywood in particular was where her work found favor and she designer with the religious aesthetic right through the 50s. It is no surprise that this inspiration found itself during some of the more tumultuous periods of history. Depression, war and nuclear fears all provided an ominous backdrop where religion becomes the antidote in the face of powerlessness amidst such moving issues of the day.

During the 50s the Eisenhower years supported a return to religion as an antidote to the mass consumption that was capitalized on after the war years. With consumption touted as the antidote he felt people were losing their way and brought forth the idea of reconnecting with faith. Given the emergence of the apocalyptic-inspiring Red Scare and the uncertainty of where our technology was leading us as we reached forward and beyond contributed to this spiritual reconnection, not to mention that religion was anti-communist. In fact, during the 50s, church attendance spiked.

Fashion got more inspired. Not only did Valentina have a hand in monastic fashion through dressing some of Hollywood’s greats both in and out of film, but another fashion powerhouse also took to religion for inspiration: the incredible genius (and self-taught) Cristobel Balenciaga. Here it was the regal vestments of religious origin from cardinals, bishops and whatever else came from the Vatican. Cuts inspired by their ceremonious robes and headgear found their way into women’s couture, albeit reinterpreted with high style in mind.

With nuclear fears and society questioning organized religion in the 80s, we saw religious icons re-emerging in the fashion sphere, this time from designer Jean-Paul Gaultier. Here he applied a more deconstructive edge in the application of religion as inspiration that reflected religion’s role as a topic within our society struggling with faith during anticipated crisis while media was examining televangelism and the way religion was becoming more combative with our society as more permissive views such as gay rights were becoming more mainstream through acceptance within pop culture.

Now we have apocalypse on our mind: anticipated fears of global catastrophe from our collapsing environment and fears of poverty and another Depression mix with legend of ancient prophesy and religion having more influence in politics. How can we not have religion on our minds? Whereas hints were coming from a few designers last year (ThreeAsFour, for example) this year it is more prominent. Some of it came from the architecture, such as Vera Wang, which had cathedrals in print and referenced in some garment assembly, or Versace, which had stained glass and crosses as patterning. Carven had cut outs on some separates like giant lace or church stained glass framing and cathedral stained glass patterning.

Some of it had more historic referencing from a more medieval place. But rather than the obvious role of the church integrated in society perhaps a more fitting reference might be the Inquisition, especially when looking at the religious right demonizing public figures and their push for more influence in politics. Dark ages always follow a fall of a civilization, and religion serves to gather more influence during those periods. The expectation of a possible societal collapse is more enhanced as rather than regional, our culture is now more internationally synchronized; an actual collapse would be way more impactual. Aquilino.Rimondi featured some garments with medieval tapestry patterning. Carven also had some tapestry patterning in their collection. Colette Dinnigan had a vaguer reference in French medievalism in pattern , somewhat armor-like in a monochrome nature with cap sleeves and a pulled -in waist, belted like a peasant’s sack garment. Damir Donna had shorts over leggings that took on a hint of this period’s aura, especially when paired with crosses and capes. Some of the items from John Galliano also had a leaning to the religious aspect of this period with deconstructing capes incorporated into design. Meanwhile, Yves St. Laurent included chain mail amidst pieces in his collection.

We are a visual society. Images transcend language barriers like vivid hieroglyphs that can be more easily understood by a world that is well-connected. And some see it as a religious experience…or an experience of religion. Thus, it is not hard to see it infiltrate our culture through fashion. Given how politics plays a more integral role in our society, especially when looking at the Middle East or the lingering effects of the war on terrorism, it’s hard not to separate church from state…of mind, that is.

Fall/Winter fashion weeks for the Big Four have come and gone, and the volume of fashion to pour over is, for some, a daunting task. It requires the examination of thousands of images covering hundreds of collection presentations to see through the obvious. These aren’t just clothes, but our collective language of expression told through the balance of commerce and creativity. Expression hinges on complicity of mood for this type of artist to be successful enough to continue participating in the cycles that fashion propagates.

Amongst the many things seen was deconstructivism.  Mind you, since the 80s this has never fully left as the concept allowed designers to explore new combinations of assembly to create new design. The prominence of this recently, though, is in tandem with our quest to break the mold as designers hope to set the standard for the next century, to make the same historic impact that Chanel did in the 20s. The aspect of leaving behind a legacy worthy of history books and a long lasting cultural reference is tantalizing for the most die-hard and aspirational amongst those on one’s field, and here is no less important.

The movement actually started sooner, though. Attempts to break the mold were very much in the 70s when futurists had a bleaker view of the world of tomorrow and underground artists and designers looked at what that meant with something as personal as fashion.  This helped open the doors to some of the ravaged looks later in the 70s when fashion’s underground went punk, which represented the rejection of everything with wanton nihilism. You see, deconstructivism doesn’t only look at reconstituting form but also stripping away the conventions of construction. Absences of lining and unfinished edges are also some of the hallmarks of this concept.

Many people forget the reason for deconstructivism never fully lasting in the market: the populace has a natural aversion to appearing poor and these threadbare items, while certainly breaking away from convention to expand the palette of fashion in the quest to explore new directions, tended to have a quality that lent itself to an aesthetic that failed to differentiate itself from something cobbled together from leftover garments or looking similar to the worn and frayed items someone without an income would wear naturally.

This was observed in the earliest of the 90s when a well-known New York editor, proudly wearing layers with frayed edges, was waiting at the corner for the light to change when a homeless person sauntered up beside her. As she looked this person up and down, it dawned on her that there wasn’t much difference in attire. She wasn’t the only one. While times were good people had confidence in their economic state and the folly of experimenting with this concept but as the bubble started to burst being associated with the failure of poverty was like wolfbane to fashionistas and this trend lost interest quickly.

As the economy started to recover and fashion became more accessible again towards the late 90s fashion started to venture towards this route once more. However it never had a chance. The spring/summer collections of 2001 came on Sept 11^th, and the idea of wearing distressed and tattered textiles at once was seen as vulgar and in poor taste in the face of images form ground zero. It was most politically incorrect to even entertain this concept when seeing images of senseless suffering from the hands of terrorism at a level not seen before on the soil of a nation that seemed safe from something of this magnitude. So we dialed back. Everything dialed back: colour, cut, and form. The public did not have anything to look forward to if this was any indication of our future and needed something safe and tidy. So fashion has acquiesced. It has done more looking back because anything was better than what remains unknown.

Our attention to media and deluge of information has served to enhance our awareness of the state of affairs of the world and as sensationalizing bad news gets more sales our media and entertainment has responded in kind. Video games are more realistically bloodthirsty as the public grows more desensitized to violence in films and television and we gravitate to it. And so our culture produces more.

When we realized the nuclear threat of the long-standing cold war had diminished in the late 80s we felt comfortable to explore deconstructivism’s tangled shredding. When we saw that Y2K was averted we felt confident in our ability to tame the destructive potential of or technology and looked towards exploring it again. Now, years later from Sept 11^th and faced with the myth of 2012, we somehow have grown desensitized from threat and have decided that this fear is unfounded (or the impending destruction is so magnanimous that there’s no point in wasting time worrying). And so we are exploring this again.

Designers from both sides of the ocean looked to various aspects of this technique, with some of them new to the approach and others more “veterans” of the technique as they were known for exploring it in earlier incarnations. Those on this list included:, A. F. Vandevoorst  (distressed textiles), Anne Valerie Hash, Ann-Sofie Back Atelje, Anthony Vaccarello, Behnaz Sarafopour,  Jean Paul Gaultier (trenches morphed into skirts; he knows how to do “that”),  Junya Watanabe,  Luke Brooks (distressed leather), Imitation of Christ (collar stretched to accommodate an arm as well), the ever-so-clever Maison Martin Margiela, Miguel Androver (pretty much everything), TRIAS (distressed foil-backed chiffon), and the fabulously insightful Dame Vivienne Westwood.

It goes hand-in hand with the repurposing that the green movement is hoping to make more popular as those within the industry attempt to lessen the footprint that fashion creates and the patchworking of textiles that austerity in the 30s introduced when consumption came to a grinding halt yet women still wanted something new to wear. This patchworking has been and still is, of course all over the runways.

What may spell the death knell of this concept will be what killed it before: the fear of being associated with the poor. It is this fear that drives our economy and keeps the per-capita debt high in our first world culture as we struggle to hold onto the place many were tenuously part of in our economic class system, a system we don’t acknowledge outright but exists with the same venom as in times before. Hopefully we can salvage some new ideas as we look forward, embracing blind hope that we will have a world where our economies rebound and our choice, not circumstance, leaves our wardrobe stylishly threadbare.

Part of this aesthetic is the desire to be current if not ahead of the curve, and so the relationship to cultural expressions such as trends, which are really our expression of our point of view, also have more merit, particularly where populations’ activities have moved beyond the basics and focus on more cerebral sophistications. For example, someone who farms or lives in a small town where culture has low prominence will not need fashion’s more aesthetic aspects as much as someone living in Paris or Manhattan, where culture is more integral to the livelihood of the population.

In particular, fashion aims for the future. It makes sense from a business aspect to have a product that adds value because it has more long-term use. The ability to design commodities that have this attribute, and the people behind them, are more valued in this industry because the gift of providing forward-performing garments translates into more confidence in the purchase, thus winning over consumers who value conformity within this construct and have a wide array of designs at their disposal.

Also at play is the designer’s quest to make a name for themselves within their field of specialty to contribute to our wider culture by producing items that are so forward thinking that they transcend their own time. We value a designer such as Chanel or Dior because their approach to fashion has made an impact that continues to this day. Our celebration of their cultural contribution and of fashion itself in our more recent human history adds power to this honor of being remembered for this influence. So when designers have the opportunity to look forward with full expression while being conscious of the legacy potential, the lure to create is quite strong.

The issue at hand is that we are at a unique point in our age. As we cross the cusp of centuries, we now are in the awkward place of design. The bulk of the population is of the 20^th century and these people have aesthetic limits that harmonize with that century’s sense of fashion. We are, though, in the 21^st century and know that our fashion will change to reflect this new shift.  The problem with designing for a new generational shift of this magnitude is that the bulk of the frame of reference i.e. the designers who are alive today, is anchored in what we have had before , and that our nostalgia is rooted in our point of creative origin which is still the 20^th century.

We can’t help it. Our perspective will always be an accumulation of our experience and perspective, and influences will be on what was before us. If our lives were pre-21^st century we will always have this vestige of reference influence our design. And so, as we talk about looking forward, we find we still have anchors that betray where we have been. Looking at deigns all over the world and the quest to find new expressions, we look at our last impactual jumping points where we were left in awe by those who broke the rules before us.

The distortion of form is a relatively new construct in our fashion history, really taking license post-war. After our technology became more developed in relation to the years before us, our lives are indeed the things that were of science fiction and this realization has given us courage to try out new ways to dress. So when we look at unconventional materials and breaking established dress codes, we find the 60s and 70s influencing our design aesthetic. When we look to breaking with conventional form, we look to the 80s. When we seek the expressions with utilitarian approaches, we dig into the 90s.

That utilitarian aspect take more prominence in American fashion translates to more 90s influence. That Italy admires this also finds this aesthetic incorporated but that sex appeal also enjoys prominence lends incorporation of the free-wheeling 60s and 70s. That the UK is more prominent with the Olympics and the Royal Jubilee has brought more encouragement to new materials and experimentation such as what was seen in the 60s and 80s, and for Paris, the ultimate seat of fashion, the expressive experimentation of the 80s also takes form. Looking closer, these decades were cultural heydays of the 20^th century when considering looking to the future for these places, and so their reference points will be from those launch points. And we see these heavily in the collections.

It’s not to say that we don’t add our own voice or twists to what is brought out. But our last frame of forward –looking fashion came from these places. It came from Courreges, Pierre Cardin and Paco Rabanne in the modernization and experimentation of silhouette and use of unconventional materials. It came from Yves St. Laurent and Halston in the streamlining and sleekness in modern form. It came from Gaultier in the deconstruction of elements.  It came from Rei Kawakubo in breakdown of form and assembly, from Yohji Yamamoto in the distortion in romantic drape and from Issey Miyake in the hyper-technical experimentation of materials.  And in all of these designs you see coming out of the Fall/Winter 2012-13 collections you can find their work incorporated. These modern greats are our points of reference. These are the designers who made an impact, and they are all we know, for no one can know the future.

And so our ability to design will always look like some else’s vision. We may stumble on that crucial stepping stone, that bridge that links our sensibility with the next century, but chances are that this will not come from those we have before us but from those who are still growing up and have yet to show us their point of view. It will be from someone who has no real connection for the last century because that is how it has always been. And when we do it will be foreign and beyond our senses to those of us from the 20^th century…and comfortably familiar and right to those of the 21^st.