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Fashion Observed


Trend observations with a sociological eye from afar...

by Darryl S. Warren  

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Emotionally, especially after the severe austerity of the Depression and the realities of loss despite distraction and unified cohesion brought about by World War II, the public was justifiably worn and beleaguered. The war did help to reverse the economic problems as jobs were created through the mass production of weaponry, but the tension of having democracy threatened coupled with personal losses by those whose husbands, sons, relatives and friends who did not return from battle was felt despite the success of the war finally won. Also, the way the war finally ended, with the use of atomic weapons, ushered in a new more sinister modernity. Our progress had a dark side.

There is only so much a human being can absorb, and in that period the only logical recourse was a complete about-face, to ride the promise of hope from a war won and embrace anything that could nurture optimism, It was in the denial of events past, a mass denial and suppression, that ushered in the sweet pastel-laden innocence of the 50s. We saw this pop up in some collections with the appearance of prettiness, pastels and with some collections incorporating circle skirts. The 50s influence also popped up in collections by Acne (some princess-like dresses), Erdem, Felder Felder, Jonathan Saunders, Prada, and Thomas Tait (who tapped into some very old school Balenciaga).

We don’t exactly have that luxury, being that we are proud of facing our reality while embracing the wonders of being more informed and connected through the incredible access of information that our technology provides. Just as in that period, we have a lot that we have been dealing with over time. However, we are more than willing to cling onto anything that steers our focus to hope. Our spiritual quest in past years has given us the tools to support focusing on the positive to manifest results, and many have embraced this in a search for more instant effortless success. With that mindset still alive, we are more receptive to signs of optimism.

A designer weaves dreams in his creative process, to offer something that can transport us by arming us with the costume to better suit the role we wish to embody in our lives. Some of it is practical while others touch on moods that lean towards our hopes. Our need to escape is palpable and is reflected in the wide array of influences, many harking on the desire to escape, but more so to look on the bright side.

Hence, the abundance of florals, bright energetic colours and the proliferation of cheery innocent pastels are integral to some degree in all collections. Overall, there is hope, of optimism for our next year. It sells better than arming ourselves for a harsh pessimism that the media feeds on. Through this general thread, though, we are all over the place is how we aim to get there.

We have continued the ride through the pre Y2K/911 90s in the integration of arts and crafts in some pieces in collections by Burberry Prorsum (incorporation of raffia and wood beading), Christopher Kane (those appliquéd florals inset in sheer), Marques Almelda for Fashion East, J.W. Anderson, and Topshop Unique; seam detail like that by Alberta Ferretti; use of PVC incorporated into some collections by Antonio Berrardi, and Aquascutum; laser cutouts such as in pieces by Acne and Giles (his was very Art Nouveau in execution); goddess inspired drapery in one shoulder dresses by Antonio Marras, Aquascutum, Osman, Temperley London and Vivienne Westwood Red Label; a dash of grunge (Aquascutum); some warriorisms (David Koma) and a few loose Gibson Girl leanings (such asDanielle Scutt; one look albeit a punkish version) and a Belle Epoch gown by Fendi .

The practical fiscal inspiration towards minimalism, much as what happened in the 90s , was seen in collections by Albino, Anne Sophie Back Atelje, Christopher Kane, Emilio de la Morena, Fendi (I swear there was a 90s uniform vibe to some pieces),  Fyodor Golan for Fashion Fringe, Marques Almelda for Fashion East (that volumous canvas of white denim), Max Mara, Mulberry, Nicole Fahri, Pringle of Scotland, Roksanna Illincic, Thomas Tait, and Todd Lynn.

We sometimes still didn’t want to be here, looking for adventure in other places such as the use of tribalism detail in collections by Alberta Ferretti, Basso & Brooke, Burberry Prorsum, David Koma (very minimal and abstract), Etro, Holly Fulton, Peter Pilotto and Sass & Bide. Or we wanted to lounge exotic in a caftan (Fyodor Golan for Fashion Fringe, Matthew Williamson, Temperley London).

Sometimes we wanted to look back, with of course the main influence being the 20s and its Jazz age excitement. We found this in collections by Alberta Ferretti, Christopher Kane (loosely in the florals), Etro, Maarten Van der Horst for Fashion East (drop waist), Giles, Gucci, Holly Fulton, House of Holland (amidst the 90s silhouettes and pastel punk edge), Iceberg, (the use of the image of Louise Brooks, the 20s “It “ girl,  blown out as a print), J.W. Anderson, Julien Macdonald, Nicole Fahri, Osman, Peter Jensen, Richard Nicoll, and Willow (some very Erte pieces).

We saw some pop youthful energy of the 60s from House of Holland, Issa (that fringe dress), Meadham Kirchoff (those babydolls) and Richard Nicoll.

Some, however, dared to explore the 30s albeit in a more polished light. Some looked at the shine that Hollywood brought to the masses, some looked at the use of patterned fabric patchworked into design; an early form of repurposing when shopping became more of a luxury. We saw touches of these from Antonio Berrardi, Antonio Marras, Clements Ribeiro, Erdem, Nabil El-Nayal for Fashion Fringe (some looks were reminiscent of  Weimar garcon women), Julien Macdonald, Kinder Aggugini,  Mark Fast, Micahel van der Ham (his 30s patchwork approach is all over  the place now), Temperley London, and Topshop Unique. And some even clipped a few loose 40s references in epaulettes (Antonio Marras and James Long for Fashion East), peplums and short shorts (James Long for Fashion East, Giles, Marios Schwab and Temperley London).

Fashion will transcend and move in this decade and we will, just as we did in the first decade of the last century, find our new voice and new twenty first century identity. Most likely it’s in the new materials incorporated in many collections and some of the new ways to mix them. We saw something interesting in Christopher Raeburn’s collection and in the fascinating use of materials from J.W. Anderson.

We won’t be able to move forward if we linger too long on the problems we face today. Innovation rises from need and is inspired by hope. Sometimes we have to bury the head in the sand to get our focus on what we aspire to be and to have, and a little denial can go along way to get us back on track. At least that is what the collections are hoping to convey in their brightness that contrasts with the potential darkness of our day.

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