N obody is immune to the events that effect us on a global scale, especially when economics are the central focus. The recent jolt that impacted international markets have sent chills resulting in immediate speculation through various media channels beyond industry concerns, some of which are certain to impact aspects of design.

This can take on many directions. For one, it could mean the pulling back of creativity in favor of essentials for the general public who will react with conservative habits, much as what was seen in the 90s when the global credit bubble burst. Meanwhile, there's an oversaturation of manufacturing efforts aimed at a small affluent percentile, much as what happened in the late 80s, contributing to profit dilution and serving to exacerbate the issues that impact more broadly.This is what fueled normcore design aesthetics in periods of austerity in the 70s, early 90s and, more recently, in our earlier decade.

Another aspect is the shift of cultural appeasement. With China looked at as a culture of great economic potential, designers sought to explore how to add to their collections to appease that market much as was done in the 80s for the Japanese when they were a desirable market due to their unprecedented affluence. As their wealth dropped, designers no longer felt the need to appease, and designs reflected this. With this new economic outlook, we may look towards either a new source to appeal to or, more likely, find a broader aesthetic that is more international and general.

A contrary (and more likely) expression may be the economic divide mirrored in collections, with modesty for the public and austentation for the couture and higher aspects of pret-a-porter, supporting a divided class distinction with fear motivating defensive dressing. here, the fear of being poor drives the public to do all it can to avoid looking that way, even if it means alternate modes of fashion participation. That is where luxury consignment has been on the upswing, while current business models such as those introduced by Scandanavian company Fillipa K go further by allowing others to rent high fashion.

No surprise that the 80s cannot leave our grasp. Not only does it represent a spirit of creativity in the face of technology that current designers of 20th century origin find favor in, but also the era represents the exhaustion of compassion in favor of self-centered support as a survival mechanism. Our technology has created a false sense of community while supporting narcissism, i.e. our selfie culture and self-promotion on social media, and allowing us to be together being happily alone. Our fears drive us to fit in, and tech lends us the tools to do it more stealthily.

So much happening, who can't wait for what the upcoming collections will bring? And some new questions will be these: which designers will do last-minute tweaks in the face of current economics to gain the advantage in order to thrive? And how will these aspects tie into our direction towards a new identity that becomes our 21st century costume? Both are good questions that we will eventually learn the answers to as the Spring Summer 2016 collections unfold in the coming weeks.