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Fashion Observed


Trend observations with a sociological eye from afar...

by Darryl S. Warren  

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Something for Everyone

It starts as a trickle. Then, a torrent of collections steamrolls out en mass up for circumspection for the public to ogle, for editors to study and assess, for buyers to sift through, and for writers to examine. Some blogs prefer to dictate preferences according to the tastes of the writer as they assume being representative of their readership and their preferences. Some blogs like to look at key trend pattern elements to help those looking to remain current. This blog remains different in addressing not what happens, but looks at perhaps why. It doesn’t do so through pictures like almost every other blog, but through words. You can always open a second page and Google if you want pictures; I value my readers for having minds as well as some basic computer savvy. Besides, a little searching opens a door to more images at your control as opposed to my editing the world for you. You might miss out on something.

There are those who have no idea how intricate the process of fashion is and how much thought goes into the selection of a detail such as colour or cut. Of course, designers have their individual reference points, but designers are like artists, sensitive to their environment and looking to find a voice in what they see in their world. For those who are more revered their voice also holds foretelling and those who combine this gift with excellent taste and workmanship (or at least a good eye for hiring the right people) that are the ones the fashion world respects more.

A lot of what we have seen coming out of the SS 2012 collections was mentioned in previous articles on here, starting with the article “92 87 74 38 29 12” (Feb 25th), which summed up years that were being picked at, with subsequent articles  expanding on what was happening in our society and how it paralleled past periods. It was our recognition that we have been in a similar situation relative to our history that often provides impetus for imitation or as the community like to call it: “inspiration”.

The 2012 Resort collections saw a shift to some degree as economics came into play as a stronger underlying influence that was covered in articles related to what was offered and how those would foreshadow the SS2012 collections (articles from May 20 to July 15) and the direction they would take. Examination of what has come out of New York has, so far, shown that the expectations matched the offerings.

The most obvious is that the economics has put designers’ business instincts on notice, resulting in a lot of collections following similar approaches that happened in the transition form creative to practical in the late 80s-early 90s. This plus the upcoming Olympics and the youth now looking at 90s music has opened the door for a 90s revival, albeit a more democratic offering.

Karl Lagerfeld received some criticism when he released Chanel’s 2012 Resort collection. The criticism was for offering so many options that it seemed like there was no focus. In actuality, his collection was wise as it recognized that people make their own choices and that there isn’t necessarily one direction in style. And so the SS 2012 collections, while toeing the line within some constraints as far as key points, there has also been, within many collections, choice.

It all boils down to economics. Above all, fashion is a business and produces products. There is art and creativity in what kind of products can be offered, but on the whole they have to sell. And just as twenty years ago that realization ushered in the minimalism, so the realization has affected design choices today while attempting to find a distinct voice. The result is subtle variations of similar notes for many collections, and that will result in a competition for customers, with the result being the same as in the 90s: some designers will not survive when too many offer the same thing and there aren’t enough luxury customers to support an influx of designers vying for their money either. It happened then and it will happen again.

In the mean time, just as in the 90s we have some recurring themes as explained in past posts.

In general, many had the spirit, such as those collections from Barabara Tfank, Alice + Olivia, Billy Reid, Calvin Klein (lingerie look), Chadwick Bell, Charlotte Ronson, Christian Cota, Creatures of the Wind,  Daryl K, Diesel Black Gold, Jenni Kanye, Jill Sander Navy (the return of the uniform), Juan Carlos Obando, Ohne Titel, Preen, Rag & Bone, Rodarte, Theyskin’s Theory, Timo Weiland, Tory Burch, and Wayne.

We have a return of sportiness from Alexander Wang, Cynthia Steffe, Derek Lam, Lacoste, Marc by Marc Jacobs, Tess Giberson, The Lake and Stars, and Y-3 (with a generous nod to England in the incorporation of dark Victorian frill and plaid into the sports mix); just in time to feel Olympic sprinting from air conditioned cars to air conditioned buildings.

Minimalism and spare architectural expression  came from 3.1 Phillip Lim, A Detacher, ADAM, Alexander Plokhov, Bihbu Mohapatra, Chado Ralph Rucci, Chadwick Bell, DKNY, Douglas Hannant, Giuletta, Helmut Lang, Jeremy Lang, Josie Natori, Monique Lhullier (some pieces, that is), Narcisco Rodriguez, Ports 1961, Prabal Garung (well, only a few pieces), RAD by Rad Hourani, Reed Krakov, St. John, T by Alexander Wang, The Row, Tibi, Vera Wang, and Yigal Azrouel. Minimalism has more utilitarian purpose as well as longer investment value when looking at dollar-per-wear.

The arts and crafts movement that was popular in the 90s was in collections from Cynthia Steffe, Duro Olowu, Proenza Schouler, and Tess Giberson. And with the proliferation of draping and the ongoing MadamGres Exhibit in Paris at the Musee Bordelle, the art world found yet another way to speak through A Detacher, Carlos Miele, Costella Tagliapietra, Dennis Basso, Donna Karan, Juan Carlos Obando, Norma Kamali, andVPL, although there was a lot of drape in a lot of collections overall and a lot of clever abstraction was found in designers’ print process as well, such as from Jen Kao, Libertine, Stephen Burrows and Threeasfour.

Just in time for Titanic parties (we have the anniversary, the re-release of the film that first captured our hearts in the 90s and the ongoing apathy and wide economic class division from the original period), we have the rebellious Gibson Girl from Band of Outsiders, Bebe, Duro Olowu, Thom Browne, Tracy Reiss (it was the hats that captured that spirit) and an assortment of Belle Epoch inspired gowns from Carlos Miele, Douglas Hannant, Kelly Wearstler (last gown), L’wren Scott, Marchesa, Naeem Khan, and Tracy Reiss to toast champagne in.

There were many new aspects that have come up as well as not everything is a carbon copy. Volume was one as seen in collections from A Detacher, Altuzurra,  Chado Ralph Rucci, Diane Von Furstenburg, DKNY, Edun, Leila Rose, The Row, and Zero + Maria Cornejo.

With a pronounced focus on Africa (UK trending group Mudpie alluded to this recently), tribalism has shown up in collections from Alexander Wang, Cynthia Steffe, Derek Lam, Donna Karan, Edun, Herve Leger by Max Azria, Jean-Pierre Braganza, L.A.M.B., Michael Angel, Michael Kors, Proenza Schouler, and Rachel Zoe (hungry like the wolf, anyone?) and the Middle East  in arabesque details such as harem pants and caftans [A Detacher, Bihbu Mohapatra, Christian Cota, Giuletta, Julien Louie (short structural caftans),  Michael Kors, Tommy Hilfiger (bold colourful geometric caftans)].

We had optimism and youth celebrated in 60s references [A Detacher, Caroline Herrera (modern graphic energetic use of lines), Chris Benz, Diane Von Furstenburg, Jeremy Scott, Marc Jacobs (in use of materials), Milly, HAHM, Nicole Miller, Norma Kamali, Oscar de la Renta (in a few dresses, most were very regal and Elizabethan), Tommy Hilfiger, and Victoria by Victoria Beckham].

We also had denial in the face of economic severities in references to the 20s. Some were in dropped waists (Doo.Ri, Jill Stuart, Reed Krakov, and Victoria by Victoria Beckham), or print usage (Caroline Herrera, Herve Leger by Max Azria, Milly, and Suno). Some had looser references in cut (Tribune Standard) or in detail (Cynthia Steffe with the macramé long fringe overlay had the jazz-age swing) but many had the pattern, cut and aura down [Anna Sui, Araks, Gregory Parkinson, (Depression-era meets 90s), Jean-Pierre Braganza, Julien Louie,  L’wren Scott, Marc Jacobs, Marchesa, Philosophy, Rachel Roy, Ralph Lauren, and Thom Browne].

We also saw the 30s [ Naeem Khan, Norma Kamali, Ralph Lauren, Suno (in some of the cuts) and Zac Posen], 40s [Alexander Plokhov, Anna Sui, Badgley Mischka, Carlos Miele, Christian Cota (short shorts and epaulettes), Jason Wu, Juan Carlos Obando (in the way the fabric was gathered at the waist), L’wren Scott, Tribune Standard (loosely), and United Bamboo] and the 50s to a degree with those circle skirts with princess volumes [Badgley Mischka, Dennis Basso (some very debutante dresses), Diane Von Furstenburg, Jason Wu, and Leila Rose].

There were other things noticed, but that will have to wait. Keep in mind we have a few other countries to go, but I’ll have something for everyone.

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