Renewed focus on film reinvigorated interest in the glamour Hollywood presented in the 30s. We currently look to this decade for inspiration for its sultry luxury it is well-known for, mirroring much of what we have in our society today with the fixation on celebrity in our media amidst economic adversity. What celebrities wear and the events they attend captivates us, the perfect escape from mundane daily life or worse, facing monthly expenditure obligations. If we cannot participate, we can escape in awe, ogling such conspicuous consumption and satisfying our need for vicarious satisfaction.

As the current economic scenario mirrors the trauma the citizens of the 30s lived through, current political unrest in our world culture shouldering up to expressions of fighting convention is also synonymous with the undercurrent of that decade. An entertaining example in a most unfortunate time period was well-executed (along with some great fashion sampling) in the movie “Cabaret”, a film reflecting the wistful reminiscence of 70s Hollywood.

The political climate of unease in authoritarianism edged its way into many political arenas in many places besides Europe, and the antiestablishment at the same time pushed boundaries through the arts and growth of subculture approaching mainstream. More aggressive expressions of conservative agendas in many countries seem to attempt squelching dissenting opinions, and it seems to be history repeating to some regard when observing current world affairs.

If the late 60s had a resurgence of interest in Christ as almost a pop icon and a popularization of Christian culture, the 70s, with a realization of overpopulation, ecodisaster and unrest in the Middle East threatening the casual way of life cheap petroleum afforded, was consistent fuel on the fire of entertaining apocalyptic fears just as growing unrest in the late 30s prompted concerns of yet another world war. “The Omen” and its sequels tapped into this fear very well in the 70s, reflecting this cyclical aura when similar conditions present themselves.

Today we have been hearing ad nauseum about 2012 and the various tie-ins with Revelations, the Mayan calendar and whatever else culture throws up to validate this fear that we are on a brink. Such references to an impending apocalypse put a focus on religion’s dark side and drums up fears much in the same way the 70s did. Fear manifested in another decade seeing influence as well; war concerns held the late 30s seem familiar in today’s media landscape as well and it should be no surprise that this influence is reflected in collection influences. Marc Jacobs had some late 30s influence in his main collection. Even though Style.com mentioned a 40s theme, I dare say it's more reflective of society amidst the Weimar aristocracy of the late 30s.

Another barometer of influence besides historic cycles is where designers take inspiration, and the arts have always been a favorite. How can it not? Their clientele is cultured, too. It was interesting to see some art exhibits showcasing Deco such the Victoria & Albert Museum in London last year. Here in Vancouver not too long ago we had Man Ray’s photographs on display. If you noticed this, you had to know Deco would come up in collections somehow. The 30s still contained Deco influences (look to Nazi architecture, for a not-so-savory-example), and it was intriguing to see how this would add to the various influences when meshed with, say, the 90s/70s flirtation with colour blocking and geometric expressions like stripes (eg Gaultier in the recent SS2011 couture collections). Designers such as Ralph Lauren have incorporated some geometry harking back to Deco as well while mixing the 90s/70s vibe in cut and colour usage.