The creative process fuels fashion design, and every innovation and element of expression comes from a spark of expression. The power and intensity of that spark is what separates the stylist or marketing expert versus the genius that owns the seasons as they blaze forth with ideas that move forward the evolution that fashion seasons represent.
In our information age the access of data affords more variety of inspiration. Some of that information finds its way into more obvious modes of expression while others share a more nebulous common thread. So, for example, apocalyptic fears we have seem rise in our society may find more obvious interpretations such as distressed textiles or in deconstruction while less obvious influences can be vague references to a time and place when similar sentiments existed such as a time period reference through pop culture association where similar sentiments finds themselves mirroring aspects of pop culture phenomenon from previous times. Such associations therefore can bring a trend influence that nay not seem as clear-cut but wouldn’t have existed or have been as supported if those similar elements weren’t in play.
Fashion has been making a nod to various decades, cobbled together in various combinations as we come to peace balancing the reconciliation of our past with our quest to find a new way to our future. Various elements in our society have brought to mind periods of time where, in closer examination of history, we seem to be reliving our sentiments. The designer who is more informed and alert of course can capture these references, some which have become clichés representing a more general understanding of our cultural history.
One interesting observation of this phenomenon is when seemingly contrasting current pop culture interests and fashions nod to a period of origin where both occurred previously. On one hand the focus on the UK and Elizabethan design after London’s spot in the limelight for the Olympics, court references to Louis XIV post Occupy movement and Hunger Games and nostalgia for couture’s golden age in the face of austerity led 50s couture design elements to be part of the fashion landscape (e.g. Norma Kamali, Jill Sander Navy, Clement Ribeiro, Vivienne Westwood Red Label (and main), Alexander McQueen, and Comme des Garcons ; some heavy labels but definitely in the minority for SS 2013). On the other end we have apocalyptic fears, unease over scientific experimentation with genetic manipulation and its role in the commercial marketplace, growing mistrust with government institutions and susceptibility of rogue organizations finding ways to negatively impact our new technological world, all similar conditions in the 50s with gave rise to a fascination with fear expressed through science fiction in horror show formats including, of all things, zombies.
That these credible fears find expression in our culture to generate over five billion dollars (according to a study by website 24/7 Wall Street) in the last year is astounding. Not since the 50s has such a fascination with the undead been as prevalent as today, where cities host “zombie walks” and video games, film and television programming within the genre are on the rise. In Vancouver, a theatre company called the Virtual Stage has taken to incorporating interactivity with smart technology and performance within this genre to produce and interactive theatre experience called “The Zombie Syndrome”. Not only is this a clever use of technology and interactivity within the entertainment industry but its success is hard to ignore as the play has had to add to its existing runs due to well-underestimated interest.
Two very different expressions within our culture originating from the same decade have managed to find their way back to us today, albeit in fashion the 50s influence was more prominent last year compared to recent collections that came out for 2013. Will the rising interest in this zombie culture find a way to influence fashion? Or are these just residual expressions that coincidentally are repeating in our culture in tandem and will fade out until we reach similar conditions for emotional expression down the road? I don’t think anyone from the 50s would believe how this fascination has reached the level it has today, never mind the cultural conditions that fostered it. And if apocalyptic musings come to more than fodder for entertainment, will we be around to care? That is a scary thought that I leave you for Halloween!