Retrospective - Futurespective
By Andrea Praet, Trend Director - New York

As the first decade of the millennium draws to a close, New York Trend Director, Andrea Praet, asks three of Stylesight’s creative analysts to take both a nostalgic look back and a visionary view forward.

Sharon Graubard - SVP Trend Analysis

Andrea Praet: As the decade comes to a close, what do you feel was
the most monumental style/artist/movement/event that defined the
decade for you?

Sharon Graubard: For me, the words “artisan” and “authentic” have the most resonance as we process the last decade. With the word “artisan” goes the word “craft.” Not only have time-honored craft methods been rediscovered and employed with a sophisticated aesthetic, but there is also a movement toward cyber-craft. Crafts in the 21st century change the idea of artisan, because many of the new artisans — whether they are making chocolate, furniture or limited edition jeans — use technology, even while maintaining the spirit of the human hand and mind.  Rather than embroideries and beading applied one by one, as at the Lesage atelier in Paris, there are wondrous new effects like fused plastic appliqués, fabrics with embedded fiber optics that sparkle like stars or elaborate, laser-cut designs that mimic lace.

In addition to bringing beauty and a feeing of connection with others who have touched a garment or object in its making, cyber-crafts have futuristic functions. For instance, embroidery is a key method for incorporating  “smart” threads — yarns that are tiny computers that encode information — into garments or objects.

Authenticity is another value that has been rediscovered and redefined in the last decade. There have been so many forces that have educated the average consumer as to what is or is not authentic. One influence is the wide acceptance of vintage clothing, which exposed people to quality workmanship and a quirkiness that doesn’t depend on brand recognition, but speaks emotionally to the wearer. People can feel when something is authentic, truly felt, real. No one wants to be lied to anymore, whether verbally or conceptually, or even aesthetically.

All of this talk of embroidery and beading doesn’t mean glitzy. The new artisanal aesthetic can be austere or even modest. Think of poured concrete countertops, sturdy yet perfectly-cut cotton trousers, or even synthetic materials like neoprene or polyester used in creative ways. I always take issue when the word “modern” is thrown around to mean anything “contemporary,” because I think of Modernism as a specific style, with its roots in the 1920s Bauhaus rejection of extraneous decoration, etc. But now, in the 21st century, I think a new definition of modernism is finally emerging.

AP: Are there standout designers (either established or up-and-coming) or a particular region you feel will grow to be more influential for fashion trends moving forward?

SG: Even though fashion is my passion, I think the last decade has been more shaped by industrial or furniture designers. The Campana brothers from Brazil, who make art furniture that has deep cultural meaning with a rough, uncontrived aesthetic; Toord Boontje, who laser-cuts sheet metal into romantic garlands of flowers, and makes elegant vases from recycled beer bottles; the swirling Baroque wall radiator from Droog design; Hella Jongerius and her combinations of pottery and stitchery.

In fashion, some of the designers who seem to embody this kind of experimental, yet somehow romantic, attitude are Kate and Laura Mulleavy, the sisters behind Rodarte in New York, Christopher Kane in London, and Rick Owens, from LA, who has been showing in Paris. All three of those labels are forging a new aesthetic and depend on craft and design for their vision, rather than obvious references to ethnic dress or historic styles.

All the new collaborations between designers and established brands are moving fashion forward, because design itself is part of the new currency, the new authenticity. I think what Nadja Swarovski did by inviting avant garde industrial designers to create limited-edition chandeliers is the perfect example of the new way of working. A time-honored craft — crystal-cutting ­— was combined with art and technology, and resulted in instantly iconic, never-seen-before objects that have real, feel-it-in-your-bones magic.

Isham Sardouk - SVP Trend Forecasting

AP: If you could summarize the mood of design over the last decade in just a few short phrases, what would they be?

Isham Sardouk: An homage to the twentieth century: the legacy of the twentieth century didn’t fade away, instead we had homages for every past decade in one decade, and trends recalled the ’20s, ’40s, ’50s, ’60s, ’70s, ’80s and ’90s.

Some of the moods and details that stand out most prominently for me are:
• Minimalism nouveau led by Raf Simons and Rick Owens
• Ergonomic lines by Zaha Hadid
• Impeccable elegance, bespoke tailoring by Tom Ford
• Embellishment craze, shine and blink
• Prints galore brought back old classics like Diane Von Furstenberg
• Futurism led by Balenciaga and Dolce & Gabbana
• Vintage, vintage and more vintage
• Distressed looks and just-out-of-bed hair

AP: Looking ahead, after considering the effects of the recession, do you think the craze for logos and ostentatious living will ever return? Doesn't the pendulum have to swing back?

IS: It is true; the pendulum always swings back. Obviously everything is cyclical; it is the principle of life and the law of nature as well. There are cycles that bring back fashion that we just experienced 10 years ago, or never experienced 50 years ago. However, as we observe the most recent trends, the pendulum has been swinging back with newer interpretations and more advanced versions. It is not enough to just serve back designs and styles the way they used to be. It will take more creativity and innovation to renew the design of a logo than the design of a dress or a shoe.  The craze for logos will continue but in a more subtle way, using codes and abstract ways of identification, not just the brand name. After all, it is about the identifications and the symbols that will trigger signs to indicate that we belong to the same tribe, or not.

Branding will always be important. No one wants to live in an anonymous world, and that's why branding will prevail but in a less overt way. It has matured today and evolved. It will reach levels of sophistication with the use of technology where logos will appear and disappear according to stimuli and temperature. In swimsuits, logos will show up when it is wet and disappear when dry. The same goes for jewelry, where logos will be embedded in the stones, or included intrinsically in a leather bag as part of its components, and not as part of its embellishment. 

Renee Labbe - VP Global Trends

AP: In regards to the way the Internet has drastically altered the way in which we communicate, how do you feel the need for forecasting and trend consulting business has changed?

Renee Labbe: As someone who came into the trend industry in the late ’90s, I witnessed first-hand the rise in demand for online services. Many people – some trend experts and clients alike – heavily speculated if the rise of the Internet would render the trend business less significant. In fact, it has been just the opposite. The easy and speedy rate of exchange of information via the internet has led to a significant number of "fringe" trends and "mini trends," and navigating among the relevant and the non-relevant ones for a certain target audience can be time-consuming and challenging. Many clients now want very “personalized” trend direction, dissecting the trends that are specifically relevant to their brand. Private consultations with our clients have become an increasingly significant component of the trend business as a result.

AP: How has the type of information clients want insight and confirmation on changed within the last decade? What are the main topics of discussion you feel will be prevalent in the next few years?

RL: The type of information our clients want has changed dramatically. Ten years ago the number one question we were asked was, "What's the key color?" Today, the range of questions is quite broad but the questions themselves are actually quite focused. Anything from, "What are the five most important personal items for men next year?" to "What consumer buzzwords will be strongest for our next fall's marketing campaign?" or "What's the longevity of this trend?" Our clients – like their customers – are looking for much more security and concrete directions.

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