Those who have been looking at the collections the past few seasons, including more recently, have seen the various retro influences incorporated, albeit with modern twists such as streamlined cuts and technical advances in textiles. Yet the sport (of sorts) of identifying decade residue in various elements continues as we observed design results and how they reflect on current moods and situations today.

While the more jubilant aspects are represented, we do not ignore others that reminisce as well as reflect on impending circumstances of the day. Sociological comparisons of similarities in circumstances between now and those during the edge of both world wars exist, and as some of the 40s was present in multiple decades, including being in the current 90s embrace, it’s no surprise to find elements with us now.

Also with us is the 30s and, for those who recall the early days of this blog, the Weimar years looked at as an influence in light of cultural factors such as political complacency and polarization of sexual freedom versus conservative views. This, plus economic and meteorological comparisons (dustbowl?) continue to make this decade worth referring to for inspiration. But now we have another aspect that brings a deeper level of introspection, especially as it signifies a shift in perception brought in part by inevitable generational inevitabilities.

Recently a few articles on Salon.com came up involving matters in the Gaza strip while highlighting the growing anti-Semiticism in Europe, something not seen since the 30s (this article, for example) However, the sympathy normally reserved for Israel was on a decline, most noticeably by Millennials. The rationale was due to having less emotional connectivity, having been born more further from events that touched older generations who either experienced the horrors of WWII or had relatives or people within their sphere to confirm and relay events that shaped our awareness of the dangers of bigotry.

Debate came from readers as well as a follow-up article, but there is no denying the growing sentiment and generational connection. Desensitivity of issues due to lack of connection is nothing new. Family members related to victims and survivors of the Titanic disaster would have been horrified to see the trend of having formal dinners mirroring similar menus around the time of the ship’s sinking made into a participatory fad during the 90s after James Cameron’s film was released, romancing what was essentially a maritime disaster where thousands died. But as there was distance between event and generation, the emotional bridge was gone, and thus was looked at more with curiosity than with reverence.

Now we face a similar issue, especially in light of some darker expressions of retro fashion revealed more recently in an article highlighting the trend in Asia of dressing in Nazi-related fashions (see article here) This kitsch application has justifiably angered anyone who upholds the reverence of those who perished. But this reminds of another rather public misstep, and in hindsight connected with the Salon article the revelation appears. Years ago, Prince Harry was chastised for wearing a Nazi uniform to a costume party, a rather horrid embarrassment for the Royal Family that underscored his insensitivity, something he long apologized sincerely for and has learned from. But the unfortunate reality between his and this trend in Asia lies in the realization that a distance in time coupled with education (or, in Japan’s case, a lack thereof) means successive generations will not carry the same emotional connections despite being aware of the history associated with the uniforms and swastika, and will inevitably express curiosity in ways we find offence now.

It doesn’t justify the acts and does bring into the dialogue the need to education of successive generations across nations so they can understand what is acceptable, but one needs to understand that each generation further from an event will carry less stigma that the one before it. We applauded Alexander McQueen doing a runway show based on Joan of Arc but you can be sure that generations around that moment would have rioted in disgust. And so we witness a chilling inevitability that holds hands with the passing of our cultural torch represented in, of all places, fashion.

We need to appreciate that the thing we find easy to belittle, such as the frivolity that clothes represents, can carry powerful cues to let us know who we are and what we think. And thanks to our connected worlds we can do more than sit by, unlike the decades when the source for such ugliness was allowed to grow when it came around the first time and our awareness failed to catch it at that time. The question is what we do with this knowledge now beyond whether to include it in a collection inspiration board for the next season.