The flurry of New York’s collections with over three hundred reported showing and barely more than half were deemed relevant by larger publications such as Style.com or the New York Times. If you hear any complaints of fashion overload it is completely understandable. To sift through the derivative and redundant to find more inspiring creativity in the midst of creative caution is daunting. And this is hardly over; now the focus shifts to London, in the midst of showing as you read this.
Without question the 80s and 90s are mined for everything creative as designers look to balance familiar with innovative. Going too far in either direction can be tricky, and yet this dichotomy of the old and the new is only going to be more apparent as we drift through this decade awaiting on speculating over our future.
More recently one of the editors for Style.com commented on noticing some 20s influence as we approach 2020. For the moment the short hems, lose fit and drop waists would indicate this…until one realizes this has been a consistent story through the 60s, 80s, 90s and last few seasons. The connection we have made between youth and energy regarding the 20s has stuck with us continuously. The burst of freedom women felt in the beginning of the 20th century has remained long in the minds of our culture and when optimism hits this silhouette tends to return.
In fact, the foundation of our cuts and silhouettes is based on associations we have been carefully reinforcing as we look to create fashion that harmonizes with the mindset and moods of the public. That we are more sophisticated in our self-awareness only translates to the hybrid of styles we have been experiencing more and more frequently.
One of the mindsets we cannot ignore is our hyperawareness of connectivity in relation to the internationalization of our cultures and markets. While this is expressed esoterically (and will be covered down the road), the awareness of the world at our fingertips is clear. We see international influences all the time in fashion as it taps into the mystique and romance of far-away cultures. But it also now acts as vehicle to bridge interest as companies look to expand their reach to international destinations, in particular those with cash to spend. Hence we see more Middle Eastern influence from Edun, Jill Stuart (necklines), Tory Burch, Victoria Victoria Beckham, Threeasfour, Catharine Malandrino, Elie Tahari, The Row, and Ashish; African influence from Derek Lam, Yigal Azrouel, Mara Hoffman, The Row, Zero + Maria Cornejo, and Ashish,; Mexican/South American flavor in geometry from Christian Siriano, Custo Barcelona, Rebecca Minkoff, Maki Oh, and Zero + Maria Cornejo; India from Sass & Bide; Polynesia from Herve Leger by Max Azria; Indonesia from Timo Weiland; and Korea from Eudon Choi.
The primary leaning of inspiration in this respect, though, has been Asia, especially as China has been looked at as a fashion goldmine until recent. When looking for modern innovation melding with creativity, the most modern reference we have concerning such experimentation is from Japan, a country looked to when it was a financial powerhouse in the height of the 80s. This era was Japan’s fashion highlight as it exploded with fresh silhouettes, incredible high-tech textile experimentation and amazing modernity that is the foundation of everything modern to date ranging from silhouette experimentation and shape play to innovative draping.
While some, like L’Wren Scott have more laser focus in featuring Japan, others such as Brandon Sun, Chadwick Bell, J. Crew, Josie Natori. Norma Kamali, Prabal Garung, Rodebjer, Tribune Standard, Barbara Casasola, Eudon Choi, Jean-Pierre Braganza went for more Japanese inspired cuts such as kimono sleeves or architectural cuts; Derek Lam had a few dip-dyed items resembling 80s Miyake. Many, such as 10 Crosby Derek Lam, Chadwick Bell, Cushnie et Ochs, Jonathan Simkhai, Opening Ceremony, Peter Som, Rodebjer, Sally LaPointe, Zimmermann, Elie Tahari, Katie Gallager, Kaufmanfranco, and Zero + Maria Cornejo, had more pronounced modern Japanese architectural wrapping incorporated into some of their designs.
The bottom line, though, is that the more architectural and angular pieces primarily came from the designs out of a conservative culture looking to break with tradition as it aimed to reign in the international spotlight as a source of innovation as its tech sector transformed our world. Its impact is so culturally immense that we still refer to it today, although the shock of its rule-breaking is less pronounced given it opened the doors to more experimentation that we now are desensitized to.
As we continue to look toward other cultures of economic significance, these may produce fresh voices looking to break with their personal tradition to fight for the crown of fashion leader in an international arena. So starved are we for a voice that brings something new and more secure in our economic recovery may mean the climate could be right for hearing new perspectives as we await the ultimate new voice that has yet to reach physical maturity: the voice of the 21st century.