With attention on the economy, it was a natural to see the 20s come into play as a prominent influence in the SS2012 collections. The similarities in economic circumstances surrounding both that era and the one we live in today are all too similar for designers to not ignore this trigger. But this influence was not alone, especially as the international arena has, like our access to world knowledge, become a mass hybrid of ideas and influences that we as a greater society share (something that was anticipated by trending companies such as UK’s Mudpie).
The 90s was, as previously stated in prior articles, due for a resurgence, and along with that comes a reinterpretation of key influences that came within that decade. The expected cultural impact of the film “Titanic” of course spawned the return of grace and elegance of the Belle Epoch to the runways and with the anticipated re-release of this film in 3D coming in tandem with a 90s resurgence it was expected to make at least some degree of impact in fashion. Hence, we see elements of the Belle Epoch from labels whose clientele that tend to be more insulated from the economic scenario that is unfolding today such as Badgley Mischka, L’wren Scott, Marchesa, Naeem Khan, Valentino and less so from Carlos Miele, Jenny Packham, Thom Browne, Vionnet and Vivienne Westwood.
But a resurgence of retro is not a repeat. For one, as outlined in a previous post, it is not economically viable to have clothes that resemble an era that is too close to our time period, for it would be retail stupidity; after all, people could just resuscitate what they have buried in their closet or at a second-hand store. Also, there are subtle shifts in our society that translate into its own unique setting where we may share many similar elements with that decade but new twists that set it apart. It is fitting, then, that a different slant of Edwardian comes into play.
Before the flapper came about, there was a forerunner that really started the transition of women form property to societal equals, where protest and backbone paved the way for women to commence access to equal footing, and just as the modern lady of the 20s had her role model, the era that preceded her had one established as well that was an important pioneer of the modern woman today.
She appeared at the late part of the 19th century and her image as well as disposition was captured in illustrations by the late Charles Dana Gibson that portrayed the ideal beauty of the times. She was strong-willed, audacious and independent without losing neither her femininity nor her control, and could run toe-to-toe with the men with wry wit and style. She was athletic yet still a lady, the ideal balance that was quite progressive for its times. It was this woman that made all that the flapper expanded on possible.
So whereas we returned to being a lady in the 90s, this one embodies the sporty fortitude balanced with femininity that, for those in more proper settings, embodies the working professional that is our modern woman. With grace and intelligent jocularity, she challenges restrictions within convention today just as women did over a hundred years ago.
Some designers such as Band of Outsiders, Duro Olowu, L’wren Scott and Tracey Reiss had more prominent nuances while other designers such as Charlotte Ronson , Suno, Danielle Scutt, Haider Ackermann, Rick Owens and Vivienne Westwood had less elements or vaguer references incorporated into their collections. Some such as Betsey Johnson, Alexis Mabille and Yohji Yamamoto touched on the silhouette alone in the loosest interpretation while melding it with other timely elements.
As women continue to make equality an ideal while retaining femininity and the ideals that tradition has forged to define it, society will continue to swing back and forth in the pendulum just as society does in its journey of evolution. With the expectations placed on what constitutes ladylike behavior, standards of beauty and decorum, and rights for the freedoms that true egalitarianism stands for, it is our times and the circumstances at play that work together to shape this advancement with the same aspirations that women hold now as they did a century ago, done with a wardrobe to match ideals , inspire the journey and accompany breaking new ground as those did before and, be it inadvertently or with purpose, for those that come forth after.