Style Studio Manila

It really is amazing and curious how things change, or evolve, rather, and all these prints and patterns have me thinking how amused their creators would be if they saw they are not only still around, but now considered items of luxury.

Animal print was not always the sexy and bold statement that it is now. Think of it, cavemen (and women) wore it to cover their naked bodies and utilize as much of their kill as possible. Basically what you couldn’t eat or use as a tool or weapon, you draped around you.

A couple weeks ago we talked about the battle denim went through to not only be socially accepted, but prove it could be worthy of a design house (Versace jeans? That is quite a journey from the farm).

Tribal prints are everywhere this season, and that excites me almost more than the return of vintage swimwear. Almost. Though nearly every design has a history behind it, here is the chance to either dig into one’s own culture, or explore another’s without appearing gauche or like an overbearing member of Greenpeace.

There is an elegance to how they have become so popular, and how designers are incorporating them with modern silhouettes and pairing them with complementary, but minimal pieces.

This is an anthropologists dream come true, as (we hope) people will not casually sweep up the trend without recognizing the rich history, and even mythology, accompanying each piece.

Consider some of the African prints that are out. Africa is a big continent, so let’s look at West African prints. Some tribal prints that became popular in West Africa were the product of Dutch manufacturers trying to make a cheaper version of Indonesian Batik print (the machine malfunctioned and there were imperfections and inconsistencies that Batik purists couldn’t abide). West African women preferred the fact that the “imperfections” meant no two panels of fabric were the same and the prints took off.

But if we go even further back, we note that many of the patterns were the Dutch and British interpretations of the Indonesian design.

We look at many prints as “tribal” but most of them are the physical representation of cultural entanglement, a little inspiration and a lot of evolution.

Currently we are seeing ancient Aztec designs on the runway of Valentino, Native American Indian patterns in BCBG Max Azria, and here at home, the Ifugao designs are trekking down the mountain and into our closets to be paired with heels and jeans. (Check out our Life. Style. section)

For many of these tribes, the design’s purpose was rarely fashion-related. Each color or symbol, bizarre or simple stitch, had a meaning attached to it. They were donning themselves with a story, their story. Even today in Nepal, tribes weave patterns on blankets and articles of clothing as a way to tell their family or tribe’s history.

The reason for this brief history lesson? All these patterns represent more than a trend. We are wearing pieces of history; stories that belonged to others are now on our back, literally. This is a beautiful moment in fashion history and it deserves to be recognized, and given some respect by being knowledgeable of its origin.  It is also a perfect time to look back at your own history. Where is it you come from and how do you tell your story, express where you’ve been and how it has changed or marked you? The world isn’t getting smaller; we are simply finding a way to close the distance. This season, fashion is helping us do that not only from country to country, but from our collective past to our progressive present. {S}