Whereas fashion once had two primary seasons, pre-fall is increasingly seen as becoming equally important within the industry. Not only does it provide designers with a means to flex creative muscle while steering influence of trends for the actual Fall/Winter collections, but it also is a way to test the public reaction before making a large investment in what could be a retail mistake that could, in this economy, have more dire implications.
What is apparent is the cautiousness in the creative output as design concepts are streamlined into essential elements made for a more practical client. Much in the same way that the fallout from the bubble burst of the 80s led into the 90s (see “Clean Sweep of Austerity” in the archives; article March 11, 2010) designers are aware that practicality and versatility are more important as dollar-per-wear becomes a factor of consideration. The results fall in line with what happened two decades ago with great similarity.
One noticeable detail was colour. There wasn’t an absence of variety and there were some interesting combinations, but it was a more somber palette, a heaviness through many of the collections that will resonate with much of the buying public that cannot escape what is unfolding around them. Collections such as Ports 1961 and (less so)Pringle of Scotland, for example, had some deeper tones.
Economy was also an underlying tone as well. Many separates were meaner in cut and others were simpler versions. Translation: less fabric. Many pre-fall collections such as Burberry Prorsum, Calvin Klein and Donna Karan focused on separates in solids as shoppers look for investment pieces that can transition more easily by changing up accessories. For designers like Ralph Lauren, St. John and Calvin Klein this practical approach is what helps them weather leaner years. It’s also dangerous territory for other designers who attempt to compete in this arena. The attempt to transition into minimalism was the downfall of many labels with high price points that could not compete when this trend last appeared in the 90s, especially as other less-known generic fashion can more readily compete for the customers’ wardrobe.
Other designers went down a safe road and have slowed down their evolution, incorporating subtle variations of trends that were established in the SS2012 collections. There was a lot of textile blocking combine with seam detail, much of it involving texture, textile variation and for some collections intriguing novelty textiles similar to such experimentation in the 90s. This was apparent in collection elements from Jason Wu, Narcisso Rodriguez, Nicole Milller, Oscar de la Renta, Reed Krakoff, and Thakoon .
While the retro leaning of the prewar years was seen in collections from Caroline Herrera, Rachel Roy, Thakoon Addition and Zac Posen, shine was more directed to those looking for luxury amidst the ashes and was was seen at Chanel (prominently here), Oscar de la Renta , Jason Wu and again at Zac Posen, who had a lot of Edwardian/30s mix gowns. Meanwhile, a cleaner, more polished essence of the grunge esthetic of layering and clunky mash-ups of separates was seen at Kelly Wearstler, Rag & Bone, Theyskin’s Theory, and TSE. And just like the mid 90s when India was an influence we saw elements like dhoti pants in collections from Nicole Miller, Rag & Bone. Chanel of course went full throttle on this while making a statement about globalization of labour versus preservation of craft.
Some collections, though, had a more modern appeal and are worth a deeper look in the evolutionary direction fashion is taking. The cut variations Kelly Wearstler put out were subtle; fresh takes on familiar cuts while blending some fascinating textile and print treatments made it stand apart without standing out. TSE also struck that balance with simplicity of separates and interesting texture mixes that felt familiar while looking forward. The ultra-modern crown so far, though, goes to Reed Krakov, whose designs are decidedly well-articulated with precise execution; an interesting jacket shoulder structure that is solid yet softened and fascinating graphics that are obscure and large in scale, much like our current events are just some of the elements that reminded us that we are in the twenty-first century.
Of course, more will be covered in subsequent articles, and one collection in particular is more dimensional in inspiration. It is the astute recognition of our cultural development and how it is interpreted that made it worth discussion. But that will be another article, and just like the collections we can take our time getting there.