The Spring Summer 2016 Haute Couture season has drawn to a close, and with it remains the overview of what has been produced. While innovation is always examined, the other themes within the creative process are worth looking at, for these tell of what is cemented as focus points.
It is true that lead times and release-to-market versus presentation are huge areas being reconsidered. Those paying attention to the media already know that Vetements, Tom Ford and Burberry have announced changes to the once-traditional approach in response to changes within the consumer culture. Gone is the build-up and anticipation; our culture has no time nor patience, especially as fast fashion has taken a bite out of profits to be first in customers' closets. And while individuality may be a growing factor in the face of the sophistication of unfolding trends, we are still an animal that has a tribal mindset, and so belonging will always have a factor in our culture. Trends reflect the communal awareness and signal the belonging we embrace.
The bespoke quality and exclusivity of materials is what couture holds as stand-out factors. Thgis and acces to the latest of technical innovation that deep pockets can afford. But it is beholden to that communal influence of the greater populace, and to retain relevance as it figures out how to grow with the times it must hold themes that relate to what is happening in the larger of the global fashion landscape.
With the Olympics happening in Rio this year and in Tokyo soon after, fashion grips influences of Grecian one-shoulder goddess looks, such as those seen at Givenchy, Schiaparelli and Valentino. Meanwhile, we continue the affirmation of fear of the future by holding to the past. Some chose to mine the more royal eras such as Medieval/Elizabethan (Yiqing Yin, Zuhair Murad), Victorian (Giambattista Valli, Ronald van der Kemp), Nouveau/ Edwardian (Elie Saab, Ulyana Surgeenko, Valentino) The various decades of the glam of the 20s (Alberta Ferretti Limited Edition), 30s (Armani Prive, Chanel), Hollywood 40s (Chanel, Dice Kayek, Schiaparelli), the grand couture age of the 50s (Dior), the sexiness of the 60s (Alexandre Vaultier), the attitude filed 70s (Bouchra Jarrar) and the sexy sportiness of the 90s (Ateleir Versace). Some chose the conservative route of timeless classics emphasizing wearability (Alexis Mabille, Aouadi). With all, though, the grand opulence and excess of the consumer-mad experimental 80s prevailed (especially Jean-Paul Gaultier). An admission of wealth by whatever means to be enjoyed and celebrated despite whatever the future may hold or what the masses may resent was the bravado that couture chose to own. It's distinction of material is a pride point as it holds forth to all what makes it great, even if it is seeking where it needs to be. But not through unfamiliar ground, but, like the rest of the world, through the familiar. For while change is afoot, a balance is being sought between breaking new ground and remaining within the desires of the public. And the public has yet to fully dive into the century it is already in.
Like a century ago, we are at the edge facing what will shape our years to come yet clinging to the familiar as we do. We muster courage collectively, and will get to our place in the 21st century where our new identity awaits for the vanguards to take us there.