Fashion is the soundless voice that screams its point of view when executed boldly to a world that is visually oriented, for pictures transcend language and tap into more base levels of understanding. It can define a generation’s perspective and signify a stand our society takes on moral grounds. Fashion can also be a platform for compassionate unity through honoring elements that are inherent to a cultural signature in positive expressions that elevate the cultural source.

It’s not often that we have this expression where international concerns are translated into affinity of representative style when looking at our more modern incarnation of fashion in the last century. Fashion tends to be more of a means of escape when referencing international elements. The exotic allure of an unfamiliar place is what seduced Yves St. Laurent to mine looks from Morocco in the 70s. To the bulk of the population little was known about his favorite haunt and he brought the love of this culture to his customers, which in turn rippled through and influenced other collections. The timing was perfect, the elements were fresh and the mood of the public was just right to embrace them.

Now we are more plugged in to the goings on of the world. Whereas incidents once seemed remote the level of real-time reporting is way more sophisticated. Things that we would vaguely hear about can now be seen as if it were local news. And that reflects the state of the world, that our humanity is a lot closer than we think. So should disaster befall a nation that has broad consensual fondness, especially when their culture al quirks are enjoyed by our own, we feel for that nation just a little bit more.

The disaster that affected Japan is a more timely example. There are many nations that suffer from natural disasters, but somehow this nation in particular resonated more. But why Japan? Because the bulk of the modern elements that we now incorporate in our fashion originate from this tiny country where tradition is carefully preserved. Out of this mindset a small band of newcomers over thirty years ago decided to break the mold and forge fresh new ways of designing. Their impact was profound and their contribution was immense. That it came out of a culture rooted in maintaining tradition and supporting conformity and group cohesion over individual expression is more amazing. They did what our cultures did not, despite our culture’s framework of allowing individualism (at least moreso than in Japan) and a history of breaking rules. They didn’t think outside of the box, but outside of the planet.

And as a sign of affection and support, fashion has included elements as a form of solidarity because this culture has contributed so much to fashion. Last year we saw this most boldly form Giorgio Armani, who released an entire couture collection honoring Japan. His show was a modern expression of many traditional elements such as the textiles, the kimono cut, obi sashes and lacquered accessories.

And as this tiny country struggles with the aftermath, this culture is further honored in other more recent collections such as Alexandre Herchcovitch (kimono wrapping), Antonio Marras, Cacharel (kinonos and obis), Dries Van Noten (woodblock print style on textile), Givenchy (short-sleeved kimono cut and wrapping), Josie Natori (kimono wrapping), Maison Martin Margiela (blocking of Kimono textiles), Osman (Japanese-inspired florals), Piazza Sempione (kimono sleeves, some shogun short) and Yifang Wan (kimono wrapping) . Even Nicolas Andreas Taralis referenced martial arts in the wrapped items he put forth recently.

Japan offers clear-cut inspiration from its traditional dress. The elements are easily incorporated because, stripped to their essentials, the forms are sleek, modern, easy to wear and opposite to the complications of our mechanized modern western wardrobe. And as we already incorporate the more complex modern expressions of modern drape, construction and asymmetry that was put forth by the pioneers of modern fashion, these simpler more traditional Eastern elements offer a fine contrast without bypassing our affinity.

Since the huge influence made by Japan, we saw the major centers as the Big Five. Disaster has displaced one and for now it is the Big Four, but you can bet that we will look to make things as they were, and hopefully Japan will rebound to a degree we can not only appreciate from afar but can again incorporate more intimately as we did before. Until then, at least we are not letting them go unforgotten as we wait for recovery that restores not only their confidence but ours that it’s safe to fully return.