As covered in prior articles, the resurgence of deconstructive elements in collections signals an awareness of our fallibility and fears of impending societal collapse. The almost literal disintegration has been heartily interpreted in many collections, particularly from those in Europe where events are more tenuous, exacerbated by dire economic concerns.
The impending collapse of great nations is nothing new in mankind’s history. We have seen great empires grow and expand only to succumb to collapse over time. The ruins of the world are the vestiges of once great civilizations that would never have imagined their demise at the time of their greatness. And, despite the increased understanding and knowledge of how these societies rose and fell, we somehow seem to miss out on the lessons and repeat ourselves.
What we take away from these cultures more often is the romanticized views of these cultures during their heyday. Sometimes it is the rediscovery of their grandeur that captures us, such as the influence of ancient Egyptian culture during the early Art Deco period when Howard Carter discovered King Tutankhamen’s intact tomb. The specialness of this influence was due to the rarity and timing of the discovery. The impact of such a find was historic, and thus made a more lasting influence for the 20s where economics allowed to mirroring of such opulence and the appreciation of geometric forms in harmony with modern aesthetics that were developing at that time. Its appreciation returned in the 70s when the collection went on a global tour, allowing many who never would be able to travel to marvel at such historic grandeur and thus influenced fashion , albeit less so than before. Only when the exhibit was anticipated to return to the US did it make another appearance, most noticeably in the Dior 2004 collection at a time where the price of gold was more newsworthy.
Depending on what is happening in current events can help shape its reappearance. Of course Slavic influence is here with the impending winter Olympics in Russia, but some Mediterranean design aspects , in keeping with the Olympics’ historical roots. For instance, Greco-Roman details appear every few years when the Olympics are about to be hosted. Sometimes its in the pleating of fabric, or the goddess one-shoulder gowns, or in footwear such as sandals. It can be in armour-inspired construction much like in the 80s when classical elements came into collections during the resurgence in the interest in the arts.
The question to poise this time is whether the upcoming Olympic events are the source, or whether the anticipated fall of the Western civilization brings to mind another once-great civilization: The Roman Empire. And some designers may have found dual purpose in this reference…or trio if you include the return of the warrior mentality as women rediscover their strength in fighting for equality.
Belstaff, for example, had a grometed skirt pleated that was quite Romanesque. Naeem Khan had a few items had Romanesque touches like metal pinnings holding together slashed sleeves, one-shoulder garments with much embellishments on textile or the capes that seemed Olympic, and a girdle-like corset with a layer of chiffon that was bunched to the degree it was almost rusched, in a way somewhat like Grecian pleating.