2012 has a fatalist quality to it as many are expecting some demise. It combines various dark perspectives from many reference points nicely, and one period reflecting such fatalism was around 1912, more vividly visited and offering inspiration in the 90s. Growing discontent preceding the “war to end all wars” percolated, a class gap growing amidst the new heights of technology, these sentiments are the domain of the Edwardian teens. As we approached the millennium and had the usual end-of-the-world fears tossed around, real concerns of a societal breakdown were building in the late 90s as we realized our technology might be our downfall. The sinking of the Titanic symbolized the consequences of arrogance in such blind faith in our technology that went unchecked along with the consequences of heartless class apathy. Yet just as passengers sipped champagne unaware of their potential grim situation on April fifteenth, many today live life in a similar headspace amidst analogous sentiments; it makes sense to live life if we know there may be no tomorrow as it’s easier than to adopt responsibility for contributing to what we call currant civilization. As James Cameron plans to re-release “Titanic” in 3D for the anniversary and every pessimist quotes biblical scripture using the Mayan calendar as evidence, we seem to be treading on yet again familiar waters we explored in the 90s. And much as the Edwardian cuts appeared in that decade, we can expect it to start appearing again. You had to know it was coming, not only because of the impending film release, but also because there was a quiet rumbling of the restrained style with tongue-in-cheek play of overwrought technology that is known as Steampunk, AKA fashion’s answer to Dungeons & Dragons; it’s manifestation in popular culture is currently seen more and more in mainstream; for example, in excursions of growing emergence such as tweed rides. The prevalence of the past 80s resurgence (materialism, class hyper-distinction and technological evolution gaining speed) triggers a response, as does every negative realization made in each generation. With the prevalence of outlandish behaviour from celebrities ( From a fashion standpoint, given that bondage would have started to emerge around this phase of 80s repetition (certainly the darkness is, as per Rodarte's involvement with costuming for "Black Swan" and its effect in collections), corsetry with 80s resurgence still lingering would further enhance its presence. With its austerity, inherent darkness and an almost S & M flavor in restriction, it's only natural that this period and its focus on constraint, having had enough distance from the last time it got attention, would be played with again. Also, fascination with Victorian life and media images was strong in the 70s (in We saw this mood quietly echoed in earlier Chanel & Louis Vuitton collections, and more recently in the Regency period reference in the SS2011 McQueen menswear collection, where fashion seems “Edwardian light”. Designers such as Peter Pilotto, Julien McDonald, Giles & Thomas Tait (all Commonwealth, notice that!) had such references in their FW2011 lines to this epoch where restraint and order shone amidst the expectation of impending chaos. Antonio Marras had that restraint integrated into the cut of some pieces and Moschino featured some coats in line with that era.
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