Already fashion is sailing though Milan after London had fashion’s attention. Of course that burst of creativity came on the heels of fashion overload that New York brought en masse. Unlike New York, the calendars of London and Milan aren’t as supersaturated and allows for calmer and more measured inspection of collections. It has been noted previously that there are cultural differences to be expected in fashion collections. However, as designers look for maximizing exposure, designers are increasingly moving their collections to where space can accommodate and allow for capturing attention without getting lost in a crush of shows. So seeing designers show in London make sense for a business standpoint. However, this means that the point of view no longer becomes as distinctively British when designers for other places show there. The flavor doesn’t fall along ethnic lines as much as a mood the location represents. As Milan is more associated with workmanship, designers looking to make impact along that association are better suited to show there. Those looking to fit with the creative ben would fit London’s vibe, while New York fits modern sportswear.

Our penchant to simplify life by defining terms and space is typical when looking to assert order, and our clinical and organized approach to social clarification fits the modern sensibility of the op-art expression, such as in the 60s. Not only did we embrace a more graphic and bold geometry fitting of our frank approach, we looked to clean bold definition as we got to know ourselves in more honest terms. The frank expression of boldness was also embraced in the 20s as well when we were willing to buck convention for the sake of modern living. Thus we equate stark contrast with a clean, almost clinical intelligent expression. Direct is modern.  High contrast trim was used to effect then, particularly in the 60s, and now as we seek clarification today we find the lines firmly drawn in the wardrobe.

Alexander Wang, Alexandre Herchcovitch, BCBG Max Azria, Derek Lam, Lacoste, Lela Rose, Louise Goldin, Nicole Miller (segmenting), Rachel Roy, Veronica Beard, Tommy Hilfiger, David Koma, Erdem, Jean-Pierre Braganza, Marques’ Almeida, Moschino Cheap and Chic, Paul Smith, Preen by Thornton Bregazzi, Pringle of Scotland, Richard Nicoll, Roksanda Ilinic, Sister by Sibling, Tom Ford, Emilio Pucci, Emporio Armani, Fausto Puglisi, Gucci and Tod’s all used contrast trim to define borders within at least a few separates presented in their collections as they made definition a part of their fashion dialogue.

Contrast of course wasn’t limited to trim as the proliferation of optical black/white contrast is noted in many collections spanning more than one fashion week locations. Our vocabulary is clear as it is complex, and part of that is to state our terms and limits. We are feeling strongly these days and are graphic in our expression. They get it. Do you?