It’s almost done. This New Year’s Eve we’ll be reminded, that a century ago this same leap introduced a new era, a new vision and new opportunities for those who survived the Great War. The photographs, the movies and documentaries of everyday life from the 1920is, that resonate with us and evoke atmospheres of gothic lightness in architecture and style, have largely undergone a refashioning into contemporary romantic imagery. But it’s the adoption and usage of these images by the mainstream media, made possible by the technological revolution of globalized picture sharing in the last 10 years, that is forcing a disruption between the aesthetics and the lives of the people from that era. The overwhelming volume of information at our hands in the vast array of social media fills every moment of our time. This process of globalized sharing and accessing translates more often into global unification of thought, than in a gain of consciousness for the relevant events.
Right now we’re conveying from digital infancy to an adolescence filled with uncertainty and hope. The temporal and historical parallelisms between contemporary zeitgeist attitude and the rise of modernism in early 1900 are astounding. The shift from reason to emotion as leading impulse for our daily decisions is gaining momentum. The escape routes from information overload are already crowded and seem to lead nowhere. Empty spaces disappear in an ever accelerating speed from the ancient maps. One of the consequences from this shift appears to be the constant craving for a messianic savior, that could impersonate the aesthetics of romanticized martyrdom without sharing the effective fate of the original martyrs. This way the consumerist western societies try to purge their inheritance from the globalized Fortschritt durch Technik Credo of the last 100 years. It’s a new version of a globalized market strategy, that once again sees the westerners as leaders: Leading those same work powers, i.e. human beings, that already have been exploited by the same contemporary consumerist traditions. Since the production processes for commodities and goods of consumption have been identified as the source of the global decline, but at the same time as the basis for the wealth in our privileged hemisphere, we’re confronted with our individual schizophrenic actions on every corner.
Repainting production processes from black to green is one of the most hailed strategies out of an intricate agglomeration of issues. Complex multifaceted problems have never been solved by changing color. Apparently though, the sheer amount of involved people, actors, that need to be lead out of the selfishness of consumerism, needs a new hope. The great communicators always relied upon simple images, i.e. colors, if they had to repaint their governmental ethics. Now that image is predominantly painted green.
In a similar attempt, the resurrection and reimagining of mid century clothing style for an adult oriented niche market appears to become a favorite lead out of the responsibility to re-read what psychology, sociology, anthropology and philosophy have brought into the discussion about the fashion system since the 1970is. En plus there’s also a need to rethink the role of clothing as integral part of the public appearance and marketing strategy of political leaders in post democratic societies.
While the decade to come appears to share some premises with the same time period a hundred years ago, the possible scenarios unfold seamlessly in historical projections. Our daily proactive decisions, those tiny steps we all can adhere to, will make the difference; I don’t believe in mass marketed globalized revolutions.