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Fashion Observed


Trend observations with a sociological eye from afar...

by Darryl S. Warren  

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Room For Exaggeration

If anyone were to look back at our early 21st century fashion inspiration, it would be clear that we have a firm eye on the past. Indeed, we seem to mine it in a manner similar to those who repeat habits and revisit personal scenarios in an subconscious attempt to reconcile with one’s past as a condition of moving forward.  It’s where we are looking, as revealed in the pre-fall collections, that betrays our sentiments during such a precious time.

Our penchant for revisiting the past is a common phenomenon of human behavior, and so it would make sense that we find fashion doing the same. For those who are not as perceptive, or cannot be bothered, it is quaint to see a particular element return. However, for those who do see deeper meaning, these connections hold value. Designers, like other artists, are more sensitive to these connections and it fuels creation, a vital component to the design process.  

As fashion revisits our past, it connects us with the present via similarities of circumstance that allow those more perceptive to meditate on how we are back in that particular cultural cycle again. Little surprise that the Victoria and Albert Museum is doing a show on 80s club wear. Here, the stars were those who sought out individuality and where the street, breaking rules with wild abandon. These design experiments fueled inspiration and allowed designers the freedom to create, knowing the populace was providing a platform for its consumption by embracing and encouraging individuality.

Consequently, many collections seem to be revisiting a time when creativity came in spite of the stress of the times, enveloping our need for protection and comfort while challenging conventional cuts and fit. With fashion becoming all too practical, some designers are looking back to that time when creativity was currency with more heft and when freedom of modern expression was an asset. One of the chief hallmarks was the oversize proportions. This can be seen in collections by 10 Crosby Derek Lam, Bottega Veneta, Carven, Chloe, Louis Vuitton, Rochas, and Stella McCartney. There is also experimentation of proportion play that ventured into 80s experimentation territory in collections by 3.1 Phillip Lim, Balenciaga, and Celine.

How fun to reminisce for those who have been there before.  How revelatory for those who haven’t to inform them that this seemingly fun and creative time wasn’t exactly rosy. The period dealt with a very real fear of thermonuclear annihilation, emergence of AIDS as a killer plague wiping out a generation of creative people, angst in sexual identity exploration, revisiting of deep-seated racial attitudes, and economically inspired apathy and greed. However, it was, in spite of these and other issues of its day, a time when the arts was well-funded and enjoying a resurgence of interest. Of course, that outshone the bad and found its way into the creative process, artfully expressed.

Perhaps it is in spite of the conditions of the times that our media blaringly alerts us today that has some designers prodding us to look back as wistfully as they might do so now to re-inspire customers to have fun. Protected in swaddling cloth with ample room, they give the consumer the space to hide and insulate themselves from what is out there, allowing some to role play as if they too are in a creative and innocent time, even if it’s reputation is a bit exaggerated.

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