Money can do some strange things to people. Too much and the connection to practicality can fly out the window. Too little and caution can overtake the creative spirit, and such is the case when it comes to design implementation in the world of fashion.

Before fashion was more democratized, the class divides carried with it assurances of certain expectations. Those in the upper echelons of society could revel in finer materials and greater detail as they were insulated from the general public. Haute couture is the culmination of this mindset that has served this segment of the population well for the last century since its incarnation. However, the couture client has been in decline since its heyday in the 50s.

Part of this is the greater accessibility of better fabrics and greater detail found in ready-to-wear collections that are offered to the general population. The other part is that there is less isolation of classes. As a result, it just doesn’t make sense to have a wardrobe that cannot allow one to move through daily life amongst the general population. Therefore, something more utilitarian is required.

However, the steady upgrade of construction and materials quality offered by more ready-to-wear collections has been in part due to increased demand. Whereas before those outside of the upper classes accepted what was available in harmony with their accepted social stations, economic democratization instilled higher expectations on a greater population. With technological advancements, increased trade and lower production costs from overseas manufacturing, more people now have access to a level of fashion that would not have otherwise been possible.

The factor now, and especially in first world environments, is economic climate. When the economy is good, people are more comfortable with conspicuous consumption. Luxurious materials become more prevalent and design experimentation becomes more available as the population can afford to accelerate their consumption and thus support the variety that this climate produces. When austerity enters the picture, practicality and investment takes priority. Trendiness, and the experimentation that accompanies it, takes a backseat against smart purchases in the form of classics.

And so, many of the collections of 2013 Pre-Fall have been very telling, and so have some of the early releases of 2013 Fall/Winter. In seeking more to interest us, fashion is now casting a wider net; Style.com, for example, is starting to show collections from Stockholm and Berlin (why they still don’t have Iris van Herpen’s much publicized collection amidst the Haute Couture coverage is a complete mystery, though, but that’s another conversation) The details are there. The subtle differences in material, pattern and colour are there. There are some oversize dimensions and some that are more body-conscious.  But outside of noticing the subtle cultural distinctions represented in colour palette choices the collections really repeat most of the themes that have been around for a few seasons. Stiff textiles, minimal architecturalisms, and some shine are all under an umbrella of classic cuts. The more recent appearance of slouch and drape is starting to emerge but again within conventional parameters.

You can’t blame the designers as it is a business and they are making what the public needs and wants. Reviewing these collections that are outside of the Big Five (now that Tokyo is back on fashion’s radar) only emphasizes this, and also unfortunately points out why the Big Five are the main focus. Outside of a few glimmers of interest, there wasn’t really much in the way of groundbreaking efforts.

Only one collection from the Big Five was seen so far and it was Thakoon Addition. It radiated contemporary dressing, balancing the odd asymmetry that we associate with modernity with minimal architecturalisms and some volume and layering emphasizing texture contrasts.  It also had that casual slouch factor, all reminiscent of Zero + Marino Cornejo’s last collection where innovation and ease were successfully blended.

Thus the story to be expected may be materials and colour variations on the above-mentioned themes (and perhaps some military post-Edwardian touches in anticipation of the anniversary of World War One from a few designers) but until our economic security recovers we may have to do with a more cautious pace of development. This may turn out to be the necessary incubator until the pieces are fully in place for our next century’s direction. We’ll just have to wait and see.