Living & Arts

Amid the decadence, a sign of the economic times

In print | March 26, 2009

As 2009 has yet to promise any relief from the current economic slump, no industry remains immune from the crisis, even one that is a stronghold of the rich. In the past month, major designers showed collections at fashion weeks in New York, Milan and Paris that were no doubt affected by the economy. Collections that received the best reviews were elegant and timeless, but with a certain amount of “feminine toughness” and often a touch of whimsy. These days, overt sexiness or out-there-ness is frowned upon — Galliano’s collection was labeled irrelevant, and The New Yorker recently proclaimed that the Tom Ford brand of provocative dress so prominent in the ’90s is over. People want minimalism and practicality; flaunting wealth is no longer in vogue.

Overall, New York to me was not that exciting, but there were some designers that intrigued me. Proenza Schouler’s collection was a modern and accurate reflection of the New York “It” girl. They say that no one wears black better than New Yorkers do, and this collection did the city proud with the many combinations of fabrics that were reworked into party dresses and coats. Sophisticated but cool, this is the look that New Yorkers aim for. On the other end of the spectrum, the always-classic Ralph Lauren showed another variation of effortless dressing. Grays and camel lightened up pantsuits and coats, and there is no denying the chic nature of the clean lines and classic shapes. This was menswear for women done right.

Milan followed New York in the fashion week lineup and was even more indicative of the growing minimalism/tough female trend going on. Jil Sander, who has hardly ever dissociated from “minimalist fashion,” lived up to that reputation and showed a collection that challenged traditional proportions and shapes, all in neutral solids of black, gray and beige. Pointy flats in candy colors added a splash of brightness.

Marni, well-known for its prints, stayed true to its playful nature but in more subdued jewel tones. My favorite of the collection came at the end in the form of silk dresses with vintage-inspired English rose prints. Burberry also stuck to its classic forms — trench coats, pants and simple dresses in grays and other light neutrals. And Prada, in its own way, stayed true to its colors by being as crazy as always. Apparently, this is the year for vampires, and whether or not Miucca Prada has seen “Twilight” or “True Blood,” there is no denying the comparison between the models’ makeup and the undead. These were modern vampires though, complete with thigh-high boots and shoulder pads, adding a whole new dimension to feminine toughness.

The return of the strong-shoulder pad shape was probably the most noticeable trend at Paris Fashion Week, not necessarily amongst the collections themselves, but on magazine editors, stylists and models on the street. “Balmainia,” as some called it, had reached a high point. Judging from blogs, it seems that photographers couldn’t go anywhere without seeing women dressed in the military-inspired exaggerated shoulder jackets from the Balmain show. Lanvin was another favorite this season, and produced yet another collection full of timeless pieces that women simply want to wear. Dries Van Noten surprised me with a color palette that was refreshingly chic and modern, but also made me nostalgic for vintage Smith-Corona typewriters. Color-wise, this seemed to be an especially bright Fall season for runway shows. Even Comme des Garcons, whose Spring show this past year was done completely in black, showed a softer side with layers of flowing peach and gray chiffon, layered over olive greens and navy blues.

Yes, fashion reflects the times, but it is like other forms of art in its projection of the future. And though the buzzword for such a future may be pragmatism, such pragmatism does not have to mean drab and cheap. As Alber Elbaz of Lanvin recently stated in The New Yorker, “value” does not mean a bargain. Instead, it means quality clothing that may cost more but will stand the test of time.

In these times, being smart with money does not necessarily mean buying cheap clothing; it means being more selective in finding true bargains, ones that may require monetary investment but that will pay off in a much more satisfying way. Elbaz’s own designs, which are self-described as “classic with a twist,” are likely to endure in the future, and if that is so, then the future is brighter than it seems.

Ming is a sophomore. You can reach her at mcai1@swarthmore.edu.